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
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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)
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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.
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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
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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
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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."
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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
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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".
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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.
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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
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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
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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 Ăśberlieferung, 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
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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.
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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
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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
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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"
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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: vitalitĂ 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.
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123:(18 October 1706 – 3 January 1785) was a Venetian composer, born on the island of
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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 giĂ cappella ducale di San Marco in Venezia dal 1318 al 1797
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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
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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
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971:(2009). Three series of recordings of the keyboard sonatas have been launched, by
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Saxon State Collection have also been reattributed from Galuppi to Vivaldi: a
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Baldassare Galuppi und die Ăśberlieferung 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 giĂ 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
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1895:, 5 October 1897, p. 11, and "Robert Browning Commemoration Service",
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1644:"Galuppiana 1985: studi e ricerche: atti del convegno internazionale"
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was revived for the first time at the Venice Music Festival in 1952;
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La Creazione della sonata dramatica moderna rivendicata all'Italia
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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
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284:. On his return to Venice in 1728, he produced a second opera,
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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.
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It seems as if the genius of Signor Galuppi, like that of
1924:. "Commedia dell' Arte atmosphere at the Festival Hall",
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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
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Music in European Capitals: the Galant Style, 1720–1780
2188:(Thesis). Lexington, Kentucky: University of Kentucky.
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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
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1692:(Venezia, 28–30 October 1985). Firenze: L.S. Olschki.
288:, written in collaboration with another Lotti pupil,
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From 1726 to 1728, Galuppi was harpsichordist at the
257:. At the age of 15 Galuppi composed his first opera,
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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,
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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.
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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
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1542:Fanna, Antonio, and Michael Talbot. 1992.
1001:. Choral works put on CD include the 1766
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2297:International Music Score Library Project
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2185:The Vespers Psalms of Baldassare Galuppi
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1908:Thoresby, Christina. "Music in Venice",
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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 virtĂą 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: MĂĽller.
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:
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2758:
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2742:
2734:
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2718:
2710:
2702:
2694:
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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 virtĂą liberata
424:Arcadia in Brenta
294:Teatro San Angelo
129:Venetian Republic
118:
117:
2902:
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2684:
2676:
2674:Antonio Buzzolla
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2644:
2636:
2628:
2620:
2612:
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2596:
2588:
2580:
2572:
2564:
2562:Giovanni Rovetta
2556:
2548:
2540:
2532:
2524:
2522:Gioseffo Zarlino
2516:
2514:Cipriano de Rore
2508:
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2498:Pietro de Fossis
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2049:Virgin VC5450302
2047:
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2040:Hungaroton 32252
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1739:"For the Record"
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1514:in Arnold (1985)
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1342:Salter, Lionel.
1340:
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1274:
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1252:Caffi, Francesco
1249:
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1220:Monson, Dale E.
1218:
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1147:
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1137:
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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:
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35:
21:
20:
2910:
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2812:Classical music
2806:
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2777:
2762:Roberto Micconi
2722:Umberto Ravetta
2506:Adrian Willaert
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2063:Burney, Charles
2058:
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2025:"In the studio"
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1701:Ritzarev, p. 83
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1474:Ritzarev, p. 88
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1462:Ritzarev, p. 81
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1383:
1377:Wayback Machine
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925:Buxton Festival
921:Renato Capecchi
884:Robert Browning
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459:maestro di coro
447:Buona Figliuola
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243:Francesco Caffi
239:Venetian Lagoon
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202:Robert Browning
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1882:Colwitz, p. ix
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1860:Richard Capell
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1790:Franco Rossi,
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1642:Hunter, Mary.
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1620:Heartz, Daniel
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1523:Towers, John.
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428:drammi giocosi
369:dramma giocoso
357:Charles Burney
337:King's Theatre
321:
318:
218:
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213:
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204:'s 1855 poem "
167:dramma giocoso
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113:List of operas
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91:Music director
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2145:0-7546-3466-3
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2116:9780549390053
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2012:
2003:
1994:
1985:
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1970:CPO 999 947-2
1967:
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1729:, 3 June 2006
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1662:Burde, ines,
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1093:Il re pastore
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1077:L'eroe cinese
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945:La diavolessa
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819:Dixit Dominus
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807:. In 2003, a
806:
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99:Organizations
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22:
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2698:Pietro Magri
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2309:(ChoralWiki)
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2105:
2086:
2067:
2056:Bibliography
2045:
2036:
2028:
2020:
2011:
2002:
1993:
1984:
1975:
1966:
1957:
1948:
1941:The Guardian
1940:
1935:
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1917:
1910:The Observer
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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:
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510:
505:
501:
497:
490:
458:
454:
452:
445:
439:
436:
431:
427:
423:
417:
412:
408:vice-maestro
407:
405:
385:
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373:
367:
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348:
344:
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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:^
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1384:^
1349:,
1326:^
1312:,
1281:^
1263:^
1254:,
1224:,
1175:^
997:nl
986:it
901:.
826:.
716:.
691:.
654:,
650:,
646:,
473:.
343:,
302:,
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135:,
2788::
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2342:t
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2196:.
2192::
2148:.
2127:.
2098:.
2079:.
1366:"
1130:.
51:)
47:(
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