Baldassare Galuppi

546:(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 493: 426:. 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) 861:

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.

44: 736: 391:. 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 559: 887: 233: 633: 2830: 2818: 869:

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.

252:, 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 2806: 370:, 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." 339: 908:, "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 219:", 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. 421:

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

591:)". 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". 1731: 756:

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.

579:, 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. 448:

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

433:. 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 746:

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:

476:. 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 689:

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

383:. 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, 211:'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 694:

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

204:. 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. 795:

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

2462: 1383: 327:, and two psalm settings. Although he became internationally known as an operatic composer, he maintained a steady output of sacred music throughout his career. 681:

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

2740: 2860: 2358: 2756: 602:. Thereafter he continued to compose, despite declining health. His last known completed work is the 1784 Christmas mass for St Mark's. 2307: 789:

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.

1766:"Another Vivaldi Work Falsely Attributed to Galuppi by Iseppo Baldan: A New "Laetatus sum" for Choir and Strings in Dresden" 2444: 627: 123: 2271: 317:, the next year. This, too, was modestly successful, and Galuppi began to receive commissions for operas and oratorios. 2885: 2870: 1376: 492: 2144: 387:, which was only a mild success. He continued to compose serious operas, sometimes in partnership with the librettist 2154: 2125: 473: 2115: 778:

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.

2900: 2303: 2406: 2390: 2317: 2313: 147: 2905: 2382: 2344: 666: 2454: 1749: 1232: 2796: 2644: 968: 782:

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.

2676: 899: 216: 151: 350:. Of the 11 operas under his direction, at least three are known to have been his own compositions, 207:

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.

347: 43: 598:, premiered in October 1773. In May 1782 he conducted concerts to mark a papal visit to Venice by 2604: 2414: 2035: 1937: 1354: 699: 451: 134:(18 October 1706 – 3 January 1785) was a Venetian composer, born on the island of 17: 429:

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

2855: 2850: 850: 610: 481: 288: 2331: 362:; a fourth was presented shortly after he left London to return to Venice. Rival composer 8: 2652: 2500: 2485: 1736: 996: 808: 641: 547: 503: 496: 162:, but his main base remained Venice, where he held a succession of leading appointments. 143: 2244:

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

1390:, Laboratorio delle Arti, della Musica e dello Spettacolo, accessed 7 September 2011 1287:

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

2810: 2684: 2572: 2532: 2524: 2200: 1050: 1007: 909: 528: 477: 159: 2692: 2165: 2096: 982:(2009). Three series of recordings of the keyboard sonatas have been launched, by 670: 2732: 2516: 1387: 1262: 935: 931: 894: 796: 338: 253: 249: 212: 2700: 2548: 2073: 1870: 1064: 978: 800: 723:" – a complete work not to be tampered with – was not the rule in 18th-century 716: 654: 379: 367: 197: 177: 823:

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

2844: 2628: 2422: 2221: 2194: 2135: 2106: 1630: 1427: 987: 918: 829: 761: 430: 411: 261: 172: 2186:

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

2716: 791: 673:; the only composer of later generations who approached his output was 407: 388: 186: 1906:, 5 October 1897, p. 11, and "Robert Browning Commemoration Service", 1874: 1654: 1634: 1596: 1535: 1320: 2336: 1655:"Galuppiana 1985: studi e ricerche: atti del convegno internazionale" 1074: 922:

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

740: 632: 175:, he became famous throughout Europe for his comic operas in the new 292: 273: 208: 2282: 1829:

La Creazione della sonata dramatica moderna rivendicata all'Italia

171:, but from the 1740s, together with the playwright and librettist 815: 783: 711: 609:, paid for by professional musicians, at which the actors of the 468:

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

576: 295:. On his return to Venice in 1728, he produced a second opera, 245: 237: 135: 85: 67: 1790:

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

2216:. Los Angeles, California: University of Southern California. 272:, which, according to Caffi, was performed unsuccessfully at 2829: 751:, a setting of St. John's Passion for women's voices, and a 185:, for which his librettists included the poet and dramatist 575:

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

1935:. "Commedia dell' Arte atmosphere at the Festival Hall", 2324:

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,

807:, his pupil." Marina Ritzarev comments that the Italian 2226:

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

2199:(Thesis). Lexington, Kentucky: University of Kentucky. 1432:

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

2177:.Die venezianische Kirchenmusik von Baldassare Galuppi 142:. He belonged to a generation of composers, including 2794: 1703:(Venezia, 28–30 October 1985). Firenze: L.S. Olschki. 299:, written in collaboration with another Lotti pupil, 287:

From 1726 to 1728, Galuppi was harpsichordist at the

268:. At the age of 15 Galuppi composed his first opera, 165:

In his early career Galuppi made a modest success in

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inspiration, but as Charles van den Borren wrote in

303:; it was well received when it was presented at the 1635:"The Creation of the Buffo Finale in Italian Opera" 1721:Talbot, Michael (2004). Notes to Hyperion CD 66849 872:Among other instrumental compositions by Galuppi, 583:Galuppi told Burney his definition of good music: 2246:. Tallahassee, Florida: Florida State University. 2237:. Tallahassee, Florida: Florida State University. 1241:, Oxford Music Online, accessed 3 September 2011 1020:, to words by Goldoni (2004), and motets (2001). 890:Burano's Piazza Galuppi is named for the composer 669:, and the most prolific of all, with 166 operas, 2842: 2326:, Sibley Music Library Digital Scores Collection 1597:"Studien zur Opera seria von Baldassare Galuppi" 1853:Galuppi, Baldassare, and Horst Heussner. 1981. 1555:Vivaldi, vero e falso: problemi di attribuzione 154:, whose works are emblematic of the prevailing 48:Galuppi by a Venetian artist, bearing date 1751 2098:The Present State of Music in France and Italy 1699:Muraro, Maria Teresa, and Franco Rossi. 1986. 1686:Passadore, Francesco, and Franco Rossi. 1994. 330: 2470: 2352: 1536:"Who composed the greatest number of operas?" 519:for the Basilica's Christmas mass each year. 1805:, Edizioni de I Solisti Veneti, Padova, 2006 1639:Proceedings of the Royal Musical Association 765:with smooth vocal lines in the tradition of 2876:Italian classical composers of church music 1842:Studien zur Geschichte des Streichquartetts 1661:, Vol. 69, No. 2 (April 1988), pp. 257–258 1603:, Vol. 67, No. 2 (April 1986), pp. 202–203 2477: 2463: 2359: 2345: 1553:Fanna, Antonio, and Michael Talbot. 1992. 1012:. Choral works put on CD include the 1766 986:on the Divine Art label, Matteo Napoli on 42: 2308:International Music Score Library Project 1865: 1863: 1775: 1773: 1591: 1589: 1340: 1338: 1315: 1313: 2196:The Vespers Psalms of Baldassare Galuppi 2142: 1919:Thoresby, Christina. "Music in Venice", 1626: 1624: 1455: 1453: 1451: 1449: 1410: 1408: 1406: 1404: 1402: 1400: 1398: 1396: 1311: 1309: 1307: 1305: 1303: 1301: 1299: 1297: 1295: 1293: 1283: 1281: 1279: 1277: 1275: 1227: 1225: 1223: 1221: 1219: 1217: 1215: 1213: 1211: 1209: 1207: 885: 734: 631: 585:vaghezza, chiarezza, e buona modulazione 557: 491: 401: 337: 307:. The collaborators followed it with an 236:Statue of Galuppi in the main square of 231: 2113: 2082:. Vol. 4. London: Charles Burney. 1205: 1203: 1201: 1199: 1197: 1195: 1193: 1191: 1189: 1187: 1040:Metastasio and Galuppi collaborated on 14: 2843: 2366: 2332:Recordings of his concertos on YouTube 2220: 2094: 2072: 1860: 1770: 1586: 1481: 1479: 1469: 1467: 1465: 1335: 1329:, 1 January 1985, pp. 45–47 and 49–50 2458: 2340: 2211: 2192: 2183: 2174: 2163: 2120:. University of Southern California. 1621: 1446: 1393: 1290: 1272: 840: 342:The King's Theatre, Haymarket, London 2445:List of operas by Baldassare Galuppi 2241: 2232: 1902:"Mr. Clifford Harrison's Recitals", 1875:"Round about A Toccata of Galuppi's" 1184: 739:Musicians' gallery in St Mark's, by 628:List of operas by Baldassare Galuppi 2861:18th-century Italian male musicians 2272:Music Division, Library of Congress 1950:Larner, Gerald. "Buxton Festival", 1476: 1462: 1414:Luisi, Francesco (2001). "Galuppi: 487: 24: 1641:, Vol. 104 (1977–1978), pp. 67–78 709:he observed the convention of the 544:La pace tra la virtù e la bellezza 417:In May 1748 Galuppi was appointed 406:Galuppi's best-known librettists, 244:Galuppi was born on the island of 25: 2917: 2314:Free scores by Baldassare Galuppi 2304:Free scores by Baldassare Galuppi 2251: 1831:. Rivista Musicale Italiana, 1910 1816:Galuppi als Instrumentalkomponist 1137:(1760) was a work by Goldoni and 803:and maintained by, among others, 719:written by other composers: the " 636:Arias from Galuppi's 1743 opera, 2828: 2816: 2804: 2146:Eighteenth-century Russian music 2114:Colwitz, Erin Elizabeth (2007). 1869:Borren, Charles van den, trans. 1677:, Frankfurt am Main , Lang, 2008 1418:", Notes to Chandos CD CHAN 0676 2066: 2054: 2045: 2029: 2020: 2011: 2002: 1993: 1984: 1975: 1966: 1957: 1944: 1926: 1913: 1896: 1887: 1847: 1834: 1821: 1808: 1795: 1782: 1759: 1743: 1732:"Vivaldi: Dixit Dominus RV 807" 1724: 1715: 1706: 1693: 1690:. Venezia: Ed. Fondazione Levi. 1680: 1667: 1647: 1609: 1573: 1560: 1547: 1528: 1515: 1506: 1497: 1488: 1437: 1421: 1154: 1144: 1126: 1117: 773:. However, Galuppi applied the 730: 377:to a new style of comic opera, 2881:18th-century Italian composers 1818:. Frankfurt a.d. Oder: Müller. 1369: 1347: 1256: 1247: 1172:, both to libretti by Goldoni. 1034: 926:was revived in 1959, starring 594:The last opera by Galuppi was 553: 276:and equally unsuccessfully in 227: 13: 1: 1023: 941: 864:Galuppi's seven experimental 587:(beauty, clearness, and good 2896:Italian male opera composers 2866:18th-century Venetian people 2318:Choral Public Domain Library 2295:How to use archival material 1178: 222: 189:, were also widely popular. 148:Giovanni Battista Sammartini 27:Italian composer (1706–1785) 7: 2383:Gustavo primo, re di Svezia 2212:Eanes, Christopher (2011). 1321:"Galuppi's Religious Music" 527:in Berlin and encountering 331:London and return to Venice 10: 2922: 2645:Giacomo Giuseppe Saratelli 2179:. Frankfurt am Main: Lang. 2079:A General History of Music 1923:, 21 September 1952, p. 10 1756:, Awards Issue 2005, p. 10 1512:Burney (1771), pp. 186–187 969:Gustavo primo re di Svezia 625: 538:(1768), and two cantatas, 301:Giovanni Battista Pescetti 2886:Italian Baroque composers 2871:Cappella Marciana maestri 2677:Giovanni Agostino Perotti 2496: 2441: 2374: 2277: 2267: 2228:. New York: W. W. Norton. 2164:Caffi, Francesco (1854). 2143:Ritzarev, Marina (2006). 1881:, 1 May 1923, pp 314–316 1615:Wiesend, Reinhard. 1984. 1581:Göttinger Händel-Beiträge 1568:Göttinger Händel-Beiträge 1355:"Galuppi (rev. Gallico), 881: 621: 474:Ospedale degli Incurabili 119: 109: 92: 74: 53: 41: 34: 2557:Giulio Cesare Martinengo 2095:Burney, Charles (1771). 1910:, 14 December 1897, p. 6 1840:Finscher, Ludwig. 1974. 1557:. Firenze: L.S. Olschki. 1541:, 1 August 1911, p. 527 1434:. New York: W.W. Norton. 1028: 934:, and was staged at the 858:Wöchentliche Nachrichten 616: 297:Gl'odi delusi dal sangue 264:, the chief organist at 2891:Italian opera composers 2605:Giovanni Battista Volpe 2415:Il filosofo di campagna 1972:Hungaroton HCD 32538-39 1938:The Manchester Guardian 1883:(subscription required) 1663:(subscription required) 1643:(subscription required) 1605:(subscription required) 1543:(subscription required) 1381:di Baldassarre Galuppi" 1331:(subscription required) 1243:(subscription required) 1080:Semiramide riconosciuta 964:Il filosofo di campagna 924:Il filosofo di campagna 786:passages for soloists. 452:Il filosofo di campagna 282:La fede nell'incostanza 152:C. P. E. Bach 2669:Bonaventura Furlanetto 2613:Gian Domenico Partenio 2149:. Aldershot: Ashgate. 1963:Hungaroton HCD31658-59 1954:, 3 August 1985, p. 11 1844:. Kassel: Bärenreiter. 1046:Alessandro nell' Indie 1018:L'oracolo del Vaticano 900:A Toccata of Galuppi's 891: 743: 644: 581: 563: 499: 472:(choir master) at the 414: 343: 241: 217:A Toccata of Galuppi's 2901:Musicians from Venice 2490:Saint Mark's Basilica 2431:L'inimico delle donne 2205:10.13023/etd.2020.286 2170:. Venezia: Antonelli. 2101:. London: T. Becket. 2042:, October 2007, p. 89 2008:Hungaroton HCD3210304 1990:Bongiovanni GB2422/24 1827:Torrefranca, Fausto. 1788:Hiller, Johann Adam, 1503:Burney (1771), p. 185 1494:Burney (1771), p. 174 1443:Burney (1789), p. 474 1416:Il mondo alla roversa 1366:, October 1982, p. 80 1344:Burney (1789), p. 448 1233:"Galuppi, Baldassare" 974:Il mondo alla roversa 889: 738: 635: 573: 561: 495: 405: 356:Scipione in Cartagine 341: 235: 2242:Knop, Keith (2011). 2233:Knop, Keith (2004). 2193:Buzza, Scot (2020). 2184:Burde, Ines (2010). 2175:Burde, Ines (2008). 1941:, 6 March 1959, p. 7 1814:Raabe, Felix. 1929. 1166:and Mozart composed 948:Il caffè di campagna 482:Gasparo Pacchiarotti 289:Teatro della Pergola 240:, the Piazza Galuppi 2653:Baldassarre Galuppi 2501:Johannes de Quadris 2486:Maestri di cappella 2407:Il mondo della luna 1737:The Daily Telegraph 1659:Music & Letters 1601:Music & Letters 1386:4 June 2011 at the 1357:L'Arcadia in Brenta 1108:La clemenza di Tito 1016:(2007), a cantata, 1014:Messa per San Marco 952:La clemenza di Tito 809:Vincenzo Manfredini 769:and a good deal of 642:Francesco Vanneschi 640:, to a libretto by 548:Johann Adolph Hasse 536:Ifigenia in Tauride 509:maestro di cappella 504:Catherine the Great 497:Catherine the Great 194:maestro di cappella 144:Johann Adolph Hasse 2906:People from Burano 2749:Gastone De Zuccoli 2725:Delfino Thermignon 2661:Ferdinando Bertoni 2565:Claudio Monteverdi 2391:Didone abbandonata 2368:Baldassare Galuppi 2188:. Dresden: Seeman. 2026:Dynamic 33545 2009 1933:Greenfield, Edward 1857:. Wien: Doblinger. 1855:Concerti a quattro 1730:Wigmore, Richard. 1379:Didone Abbandonata 1238:Grove Music Online 1134:La buona figliuola 1056:Didone abbandonata 960:Didone abbandonata 892: 875:Grove's Dictionary 866:Concerti a quattro 841:Instrumental works 744: 683:Esteban de Arteaga 645: 611:Teatro S Benedetto 596:La serva per amore 564: 500: 466:maestro di capella 415: 344: 266:St Mark's Basilica 242: 202:St Mark's Basilica 132:Baldassare Galuppi 114:St Mark's Basilica 36:Baldassare Galuppi 2792: 2791: 2785: 2777: 2769: 2761: 2753: 2745: 2737: 2729: 2721: 2713: 2705: 2697: 2689: 2681: 2673: 2665: 2657: 2649: 2641: 2637:Antonio Pollarolo 2633: 2625: 2617: 2609: 2601: 2597:Giovanni Legrenzi 2593: 2589:Natale Monferrato 2585: 2581:Francesco Cavalli 2577: 2569: 2561: 2553: 2545: 2541:Baldassare Donato 2537: 2529: 2521: 2513: 2505: 2452: 2451: 2300: 2299: 2289: 2288: 2017:Chandos CHAN 0676 1879:The Musical Times 1595:Talbot, Michael. 1539:The Musical Times 1326:The Musical Times 1169:La finta semplice 984:Peter Seivewright 966:(1959 and 2001), 906:The Musical Times 805:D.S. Bortnyans'ky 717:interpolate arias 650:The Musical Times 540:La virtù liberata 435:Arcadia in Brenta 305:Teatro San Angelo 140:Venetian Republic 129: 128: 16:(Redirected from 2913: 2833: 2832: 2821: 2820: 2819: 2809: 2808: 2807: 2800: 2783: 2775: 2767: 2759: 2751: 2743: 2735: 2727: 2719: 2711: 2703: 2695: 2687: 2685:Antonio Buzzolla 2679: 2671: 2663: 2655: 2647: 2639: 2631: 2623: 2615: 2607: 2599: 2591: 2583: 2575: 2573:Giovanni Rovetta 2567: 2559: 2551: 2543: 2535: 2533:Gioseffo Zarlino 2527: 2525:Cipriano de Rore 2519: 2511: 2509:Pietro de Fossis 2503: 2479: 2472: 2465: 2456: 2455: 2361: 2354: 2347: 2338: 2337: 2285: 2265: 2264: 2256: 2255: 2247: 2238: 2229: 2217: 2208: 2189: 2180: 2171: 2160: 2139: 2110: 2091: 2061: 2060:Virgin VC5450302 2058: 2052: 2051:Hungaroton 32252 2049: 2043: 2033: 2027: 2024: 2018: 2015: 2009: 2006: 2000: 1997: 1991: 1988: 1982: 1979: 1973: 1970: 1964: 1961: 1955: 1948: 1942: 1930: 1924: 1917: 1911: 1900: 1894: 1891: 1885: 1884: 1867: 1858: 1851: 1845: 1838: 1832: 1825: 1819: 1812: 1806: 1799: 1793: 1786: 1780: 1777: 1768: 1763: 1757: 1750:"For the Record" 1747: 1741: 1728: 1722: 1719: 1713: 1710: 1704: 1697: 1691: 1684: 1678: 1671: 1665: 1664: 1651: 1645: 1644: 1628: 1619: 1613: 1607: 1606: 1593: 1584: 1577: 1571: 1564: 1558: 1551: 1545: 1544: 1532: 1526: 1525:in Arnold (1985) 1519: 1513: 1510: 1504: 1501: 1495: 1492: 1486: 1483: 1474: 1471: 1460: 1457: 1444: 1441: 1435: 1425: 1419: 1412: 1391: 1373: 1367: 1353:Salter, Lionel. 1351: 1345: 1342: 1333: 1332: 1317: 1288: 1285: 1270: 1263:Caffi, Francesco 1260: 1254: 1251: 1245: 1244: 1231:Monson, Dale E. 1229: 1173: 1158: 1152: 1148: 1142: 1130: 1124: 1121: 1115: 1051:Adriano in Siria 1038: 1011: 1000: 992:Marcella Crudeli 910:Dominick Argento 529:Giacomo Casanova 488:Saint Petersburg 478:Gaetano Guadagni 385:La forza d'amore 280:under the title 270:Gli amici rivali 160:Saint Petersburg 81: 63: 61: 46: 32: 31: 21: 2921: 2920: 2916: 2915: 2914: 2912: 2911: 2910: 2841: 2840: 2839: 2827: 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1348: 1343: 1336: 1330: 1319:Arnold, Denis. 1318: 1291: 1286: 1273: 1261: 1257: 1252: 1248: 1242: 1230: 1185: 1181: 1176: 1159: 1155: 1149: 1145: 1131: 1127: 1122: 1118: 1039: 1035: 1031: 1026: 1005: 994: 944: 936:Buxton Festival 932:Renato Capecchi 895:Robert Browning 884: 843: 733: 630: 624: 619: 556: 490: 470:maestro di coro 458:Buona Figliuola 333: 254:Francesco Caffi 250:Venetian Lagoon 230: 225: 213:Robert Browning 105: 88: 83: 79: 70: 65: 64:18 October 1706 59: 57: 49: 37: 28: 23: 22: 15: 12: 11: 5: 2919: 2909: 2908: 2903: 2898: 2893: 2888: 2883: 2878: 2873: 2868: 2863: 2858: 2853: 2838: 2837: 2825: 2813: 2790: 2789: 2787: 2786: 2778: 2770: 2762: 2754: 2746: 2738: 2730: 2722: 2714: 2706: 2701:Lorenzo Perosi 2698: 2690: 2682: 2674: 2666: 2658: 2650: 2642: 2634: 2626: 2618: 2610: 2602: 2594: 2586: 2578: 2570: 2562: 2554: 2549:Giovanni Croce 2546: 2538: 2530: 2522: 2514: 2506: 2497: 2494: 2493: 2482: 2481: 2474: 2467: 2459: 2450: 2449: 2442: 2439: 2438: 2436: 2435: 2427: 2419: 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1183: 1171: 1170: 1165: 1164: 1157: 1147: 1140: 1136: 1135: 1129: 1120: 1113: 1109: 1105: 1104:Il re pastore 1101: 1097: 1093: 1089: 1088:L'eroe cinese 1085: 1081: 1077: 1076: 1071: 1067: 1066: 1061: 1057: 1053: 1052: 1047: 1043: 1037: 1033: 1021: 1019: 1015: 1009: 1004: 1003:Luca Scandali 998: 993: 989: 985: 981: 980: 975: 971: 970: 965: 961: 957: 956:La diavolessa 953: 949: 939: 937: 933: 929: 925: 921: 920: 919:La diavolessa 913: 911: 907: 902: 901: 896: 888: 879: 877: 876: 870: 867: 862: 859: 854: 852: 848: 838: 836: 832: 831: 830:Dixit Dominus 826: 821: 818:. In 2003, a 817: 812: 810: 806: 802: 798: 794: 793: 787: 785: 781: 776: 772: 768: 764: 763: 757: 754: 750: 742: 737: 728: 726: 722: 718: 714: 713: 708: 703: 701: 697: 693: 687: 684: 678: 676: 672: 671:Wenzel Müller 668: 664: 660: 656: 652: 651: 647:According to 643: 639: 634: 629: 614: 612: 608: 607:Santo Stefano 603: 601: 597: 592: 590: 586: 580: 578: 572: 569: 560: 551: 549: 545: 541: 537: 532: 530: 526: 520: 518: 514: 510: 505: 498: 494: 485: 483: 479: 475: 471: 467: 462: 460: 459: 454: 453: 446: 444: 440: 436: 432: 431:Carlo Goldoni 427: 425: 420: 413: 412:Carlo Goldoni 409: 404: 400: 398: 394: 390: 386: 382: 381: 376: 371: 369: 365: 361: 357: 353: 349: 340: 336: 328: 326: 325: 318: 316: 312: 311: 306: 302: 298: 294: 290: 285: 283: 279: 275: 271: 267: 263: 262:Antonio Lotti 259: 255: 251: 247: 239: 234: 220: 218: 214: 210: 205: 203: 199: 195: 190: 188: 184: 180: 179: 174: 173:Carlo Goldoni 170: 169: 163: 161: 157: 153: 149: 145: 141: 137: 133: 125: 122: 118: 115: 112: 110:Organizations 108: 101: 98: 97: 95: 91: 87: 77: 73: 69: 56: 52: 45: 40: 33: 30: 19: 2709:Pietro Magri 2443: 2429: 2421: 2413: 2405: 2397: 2389: 2381: 2367: 2320:(ChoralWiki) 2243: 2234: 2225: 2213: 2195: 2185: 2176: 2166: 2145: 2116: 2097: 2078: 2067:Bibliography 2056: 2047: 2039: 2031: 2022: 2013: 2004: 1995: 1986: 1977: 1968: 1959: 1952:The Guardian 1951: 1946: 1936: 1928: 1921:The Observer 1920: 1915: 1907: 1903: 1898: 1889: 1878: 1854: 1849: 1841: 1836: 1828: 1823: 1815: 1810: 1802: 1797: 1789: 1784: 1761: 1753: 1745: 1735: 1726: 1717: 1708: 1700: 1695: 1687: 1682: 1674: 1669: 1658: 1649: 1638: 1616: 1611: 1600: 1580: 1575: 1567: 1562: 1554: 1549: 1538: 1530: 1522: 1517: 1508: 1499: 1490: 1439: 1431: 1423: 1415: 1378: 1371: 1361: 1356: 1349: 1324: 1266: 1258: 1249: 1236: 1167: 1161: 1156: 1146: 1132: 1128: 1119: 1111: 1107: 1103: 1099: 1095: 1091: 1087: 1083: 1079: 1073: 1069: 1063: 1059: 1055: 1049: 1045: 1041: 1036: 1017: 1013: 977: 976:(2007), and 973: 967: 963: 959: 955: 951: 947: 945: 928:Ilva Ligabue 923: 917: 914: 905: 898: 893: 873: 871: 865: 863: 857: 855: 853:and others. 844: 835:Laetatus sum 834: 828: 824: 820:Nisi Dominus 819: 813: 790: 788: 779: 775:stile antico 774: 771:counterpoint 762:stile antico 760: 758: 752: 748: 745: 731:Sacred music 724: 721:opus integer 720: 710: 706: 704: 691: 688: 679: 648: 646: 637: 604: 600:Pope Pius VI 595: 593: 584: 582: 574: 567: 565: 543: 539: 535: 533: 521: 516: 512: 508: 501: 469: 465: 463: 456: 450: 447: 442: 438: 434: 428: 423: 419:vice-maestro 418: 416: 396: 392: 384: 378: 374: 372: 359: 355: 351: 345: 334: 324:Salve Regina 322: 319: 314: 308: 296: 286: 281: 269: 243: 206: 193: 191: 182: 176: 166: 164: 156:galant music 131: 130: 80:(1785-01-03) 29: 2856:1785 deaths 2851:1706 births 2741:Matteo Tosi 2399:L'Olimpiade 2259:Archives at 1163:Lo speziale 1110:(1760) and 1065:L'Olimpiade 1006: [ 995: [ 979:L'Olimpiade 725:opera seria 707:opere serie 554:Later years 550:in Vienna. 542:(1765) and 525:C.P.E. Bach 443:opere serie 410:, top, and 375:opera seria 310:opera seria 258:harpsichord 228:Early years 200:'s chapel, 183:opere serie 168:opera seria 93:Occupations 2845:Categories 2717:Giulio Bas 2040:Gramophone 1754:Gramophone 1583:. 171–183. 1570:. 109–114. 1363:Gramophone 1100:Ipermestra 1084:Demofoonte 1024:References 942:Recordings 825:Beatus Vir 792:a cappella 784:melismatic 767:Palestrina 589:modulation 408:Metastasio 389:Metastasio 187:Metastasio 60:1706-10-18 2811:Biography 2757:Luigi Vio 2136:450110261 2107:557488154 1908:The Times 1904:The Times 1179:Citations 1075:Artaserse 938:in 1985. 851:Beethoven 847:Scarlatti 753:Baccanale 741:Canaletto 675:Offenbach 667:Guglielmi 663:Paisiello 397:Artaserse 223:Biography 2268:Location 2224:(2003). 2088:83511874 2076:(1789). 1430:. 2003. 1384:Archived 1139:Piccinni 1106:(1758), 1102:(1758), 1098:(1757), 1094:(1754), 1090:(1753), 1086:(1749), 1082:(1749), 1078:(1749), 1072:(1748), 1070:Demetrio 1068:(1747), 1062:(1746), 1060:Antigono 1058:(1741), 1054:(1740), 1048:(1738), 1044:(1737), 1042:Issipile 972:(2005), 962:(2007), 958:(2004), 954:(2010), 950:(2011), 897:'s poem 749:versetti 659:Piccinni 568:ospedali 424:cappella 393:Demetrio 352:Penelope 293:Florence 274:Chioggia 209:Napoleon 99:Composer 2797:Portals 2316:in the 2310:(IMSLP) 2306:at the 1269:(1854). 1114:(1762). 1112:Viriate 816:Vivaldi 797:Traetta 712:da capo 613:sang". 360:Sirbace 315:Dorinda 278:Vicenza 248:in the 196:at the 138:in the 18:Galuppi 2784:(2000) 2776:(1981) 2768:(1954) 2760:(1939) 2752:(1937) 2744:(1926) 2736:(1921) 2728:(1900) 2720:(1899) 2712:(1898) 2704:(1894) 2696:(1871) 2688:(1855) 2680:(1811) 2672:(1808) 2664:(1785) 2656:(1762) 2648:(1747) 2640:(1740) 2632:(1736) 2624:(1702) 2616:(1692) 2608:(1690) 2600:(1685) 2592:(1676) 2584:(1668) 2576:(1644) 2568:(1613) 2560:(1609) 2552:(1605) 2544:(1590) 2536:(1565) 2528:(1563) 2520:(1527) 2512:(1491) 2504:(1463) 2434:(1771) 2426:(1755) 2418:(1754) 2410:(1750) 2402:(1747) 2394:(1740) 2386:(1740) 2375:Operas 2278:Source 2153: 2134: 2124: 2105: 2086: 1523:quoted 990:. and 882:Legacy 833:and a 700:Mozart 655:Draghi 638:Enrico 622:Operas 577:Titian 515:and a 513:Gloria 364:Handel 246:Burano 238:Burano 150:, and 136:Burano 86:Venice 68:Burano 2835:Opera 1092:Siroe 1029:Notes 1010:] 999:] 988:Naxos 801:Sarti 780:tutti 696:Haydn 692:buffo 617:Music 517:Credo 120:Works 2151:ISBN 2132:OCLC 2122:ISBN 2103:OCLC 2084:OCLC 1096:Ezio 930:and 827:, a 799:and 698:and 480:and 441:and 395:and 358:and 198:Doge 75:Died 54:Born 2488:at 2201:doi 461:." 291:in 260:by 2847:: 2130:. 2038:, 1877:, 1873:. 1862:^ 1772:^ 1752:, 1734:, 1657:, 1637:, 1633:. 1623:^ 1599:, 1588:^ 1478:^ 1464:^ 1448:^ 1395:^ 1360:, 1337:^ 1323:, 1292:^ 1274:^ 1265:, 1235:, 1186:^ 1008:nl 997:it 912:. 837:. 727:. 702:. 665:, 661:, 657:, 484:. 354:, 313:, 284:. 146:, 2799:: 2478:e 2471:t 2464:v 2360:e 2353:t 2346:v 2207:. 2203:: 2159:. 2138:. 2109:. 2090:. 1377:" 1141:. 62:) 58:( 20:)

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Knowledge

Baldassare Galuppi

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