1. Sinfonia E-Book

Francisco Antonio de Almeida

• Herausgeber: Books on Demand
• Kategorie: Lebensstil
• Sprache: Deutsch

Seitenzahl: 18

Veröffentlichungsjahr: 2022

Beschreibung

Portuguese composer Francisco António de Almeida is remembered today for a small but significant collection of secular and sacred vocal works and the "Sinfonia No.1' belongs to latter part of Almeida's career as a composer at the court of D. João V in Lisbon, c1726. Following a resurgence of interest in Almeida's work with recent performances of the dramma comico La Spinalba' and his oratorio La Giuditta' the Sinfonia No.1' newly engraved from manuscript is a valuable addition to the canon of works from this outstanding composer. --- Der portugiesische Komponist Francisco António de Almeida ist heute für seine kleine, aber bedeutende Sammlung von profanen und sakralen Vokalwerken bekannt. Die Sinfonia No. 1' gehört zeitlich in den späteren Teil seiner Laufbahn als Komponist am Hofe Dom Joãos V. von Lissabon in den Jahren um 1726. Nach einem Wiederaufleben des Interesses an Almeidas Werken durch jüngste Aufführungen des dramma comico La Spinalba' und dem Oratorium La Giuditta' ist die 'Sinfonia No.1', die hier neu vom Manuskript gesetzt wurde, eine wertvolle Ergänzung zum Kanon der Werke dieses herausragenden Komponisten.

Leseprobe

Preface

Almeida distinguished himself as ‘a young but excellent composer of concertos and church music who sang with extreme taste’I according to Pier Leone Ghezzi who organised the academy Almeida attended on 9th July 1724. We may only speculate on the age of the young man upon his entry to Italian cultural life, but we know that under the patronage of D. João V, as one of the most gifted students of the Patriarchal Seminary he travelled from Portugal to take up residence in Rome as a royal scholar around the years 1722-1726. Many of Almeida's works have been lost or survive in an incomplete state but the works which are remembered allude to a prodigious if short career as a composer of secular and sacred vocal works. The first for which we may ascribe a date is the oratorio ‘Il pentimento di Davidde' (componimento sacro, A. Trabucco), performed at the Baroque church of San Girolamo della Carità, in Rome on the second Sunday of Lent, 1“ March 1722. It seems that Almeida also became known as an organist during these years and this is reflected in the orchestration of the sacred works. Of the twenty three sacred works including two oratorios that are known to have existed, sixteen are set for 8 voices, four for 4 voices and only one for choir; in all but two of these Almeida produced an organ part and even there it is uncertain because the two works are now listed as lost

Nearly all of these belong to the early part of Almeida's career and after he returned to Portugal in 1726 he is thought to have taken a job as organist at the Royal Chapel in Lisbon. It was here that he probably met José António Carlos Seixas and where Alemeida would have been introduced to a new culture of operatic performance. In 1728 the very first operatic performance in Portugal took place at the Ribeira Palace in Lisbon: ‘Il Don Chisciotte della Mancia’ with music by the mestre of the royal chapel, Domenico Scarlatti. The formal components of his father’s operatic style ‘the da capo aria, accompanied recitative, the introduction of French horns into the opera pit, the creation of the Italian overture'II