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$a780.945 B236v 2003 |
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$aBarbier, Patrick. |
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$aVenise de Vivaldi.$lEnglish |
245 |
10 |
$aVivaldi's Venice :$bmusic and celebration in the baroque era /$cPatrick Barbier ; translated from the French by Margaret Crosland. |
260 |
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$aLondon :$bSouvenir,$c©2003. |
300 |
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$a194 pages, 4 unnumbered pages of plates :$bcolor illustrations ;$c23 cm |
336 |
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$atext$btxt$2rdacontent |
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$aunmediated$bn$2rdamedia |
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$avolume$bnc$2rdacarrier |
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$aIncludes bibliographical references (pages 184-191) and index. |
505 |
8 |
$aA city, its people, and music -- Discovering Venice in Vivaldi's day -- The Ospedali, or musical fame for the poorest of people -- Sacred music and religious festivals -- Venetian opera and its public -- Musical splendour of the private palazzi. |
505 |
00 |
$tA city, its people, and music.$tMusic and society in Venice: a few preliminaries.$tOmnipresence of music in Venice ;$tSupremacy over Naples ;$tAims of this book --$tMusic everywhere at every moment.$tMusic, art of the people ;$tAstonishment of foreigners at the extent of its practice ;$tThe barcarolles ;$tA people who expressed themselves in music --$tCan we really know Vivaldi?.$tPortrait of a city and its people.$tDemography of Venice in the time of Vivaldi ;$tThe different social classes and their hierarchy ;$tThe nobility and the doge ;$tInteractions between the social classes --$tOn some Venetian lifestyles.$tThe arrival of an outsider in Venice, his feelings of strangeness (urbanism, calendar, times of day) ;$tThe gondoliers, women and courtesans ;$tDifficult contacts between the nobility, ordinary people and foreign visitors ;$tLicentiousness and gambling --$tFeast days and ritual as guarantees of stability.$tA plethora of ritual feast days ;$tTheir division into three categories: immoveable feasts (Christmas, etc.) moveable feasts (Ascension and the marriage with the sea) and 'extraordinary' feast days (coronation of a doge, enthronement of a patriarch) --$tCarnival, quintessence of the Venetian spirit.$tSix months of carnival in three periods ;$tThe taste for wearing masks ;$tThe games on Carnival Thursday, the bulls on Carnival Sunday, the madness of Shrove Tuesday --$tSummary of the 38 immoveable religious feast day in Venice --$tThe ospedali, or musical fame for the poorest of people.$tThe four ospedali: orphanages and conservatories.$tRemote origins of the four ospedali ;$tTheir place in the city and what remains of them today ;$tThe aims of these institutions --$tOrganization and social life in the ospedali.$tAdmission of poor children and orphan girls ;$tPopulation of these institutions ;$tManagement, 'choir' girls and 'working class' girls ;$tDiscipline and outings --$tAn international musical reputation.$tFame of the young girls ;$tAdmiration of foreign visitors ;$tConcerts, masses, oratorios ;$tContribution to Venice and to the ospedali ;$tImproved social status for the girls but a ban from practising music on leaving ;$tThe love of one boarder for the painter Tiepolo --$tVivaldi and La Pieta.$tIndividual characteristics of La Pieta ;$tSpecialisation of this ospedale in instrumental music ;$tPerformance and distribution of the voices ;$tRole of Vivaldi and of the various maestri ;$tThe oratorio Juditha triumphans ;$tThe concertos composed for La Pieta and the contribution of the red priest ;$tHis influence on the whole of Europe ;$tThe decline of the ospedali at the end of the eighteenth century --$tSacred music and religious festivals.$tThe religious organisation of the city.$tThe patriarch and the primicerio of St Mark's ;$tRelationships between the church and the state ;$tOrdained and lay clergy --$tOrdinary people in the great Venetian ceremonies.$tHighly individual Venetian religious practices ;$tMagnificent processions and sacred or 'republican' celebrations ;$tThe burial of a doge ;$tRelaxation of morals in the eighteenth century --$tMusic at St Mark's and its performers.$tOriginality of the services at St Mark's ;$tThe chapel master, the singers and the musicians ;$tIntensity of religious life at St Mark's and the organisation of the ceremonies ;$tSplendour of the processions in the Piazza or during holy week --$tMusical and social life in the convents.$tFreedom of morals in the convents ;$tCasanova's adventures with a nun ;$tMasked visitors in the parlour ;$tCeremonial festivities in some convents ;$tBalls and operas in the parlour --$tVenetian opera and its public.$tVenice, opera capital of the seventeenth century.$tVenetian opera in the seventeenth century and the opening of the first theatres to the general public ;$tExceptional role of Monteverdi and Cavalli ;$tSpirit of these operas and astonishment of foreign visitors --$tThe theatre audience.$tThe Italian-style auditorium and the mingling |
505 |
00 |
$a of social classes ;$tThe groundlings ;$tThe theatre boxes, real private salons ;$tLife in the boxes and the multiple pleasures offered by the theatres ;$tAn evening at the opera ;$tBehaviour of the lower classes and the habit of spitting down from the boxes --$tThe mechanics of opera production ;$tFamily owners and impresarios ;$tDécor and production ;$tCastrati and women singers ;$tFarinelli in Venice ;$tSatire on behavior in the theatres ;$tVivaldi's operas in their context.$tSpread of his influence abroad ;$tVivald's debuts in opera ;$tVivaldi's dependence on second-class theatres ;$tThe singer Anna Giro and her relationship with the red priest ;$tVivaldi's journeys ;$tVivaldi and the satire of Benedetto Marcello ;$tGenius and weaknesses of Vivaldi's operatic repertoire --$tMusical splendor of the private palazzi.$tThe 'academies? or music at home'$tDifferent meanings of the word 'academy'$tSocieties for musicians, the philharmonic academy, the society of Saint Cecilia, the social protection of musicians ;$tThe 'amateur' concerts according to different social classes ;$tParties and balls on special occasions --$tA party with the Contarini family.$tThe villa and the theatre at Piazzola ;$tThe magnificent fetes of 1679-80 ;$tThe operas, their productions and lighting illuminations ;$tCeremonies and receptions at the embassies.$tArrivals of the ambassadors ;$tLuxurious life in the embassies and formal ceremonies ;$tAn evening at the French Embassy --$tThe art of the 'serenade'.$tAn allegorical mini-opera ;$tThe ambassadors' commissions and the entertainments linked to dynastic events ;$tVivaldi and the French embassy --$gEpilogue.$tDeath in Vienna.$tVivaldi's death certificate ;$tReasons for his departure from Venice ;$tAssessment of his work ;$tSolitude and poverty of Vivaldi in Vienna ;$tSubsequent neglect ;$tRediscovery of his music in the twentieth century. |
520 |
|
$aA detailed evocation of Venice and the city's musical culture that inspired Vivaldi. At the time Venice was, uniquely, a city where all classes mingled in their love of music; aristocrats, gondoliers and the workers met to listen to all types of music. All that is known about Vivaldi's life is included, and all the recent discoveries that have been made about that life (as well as details from Vivaldi's contemporaries). The book captures the hedonistic atmosphere of Venice at the time, already an international tourist destination, and how that was reflected by the mysterious Vivaldi in his baroque music. |
596 |
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$a1 5 |
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$aVivaldi, Antonio,$d1678-1741. |
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$aMusic$zItaly$zVenice$y17th century$xHistory and criticism. |
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$aMusic$zItaly$zVenice$y18th century$xHistory and criticism. |
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$aMusic$xSocial aspects$zItaly$zVenice. |
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$aVenice (Italy)$xCivilization$y17th century. |
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$aVenice (Italy)$xCivilization$y18th century. |
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$aBiographies.$2lcgft |
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$aCrosland, Margaret,$d1920-2017,$etranslator. |
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$iOnline version:$aBarbier, Patrick.$sVenise de Vivaldi. English.$tVivaldi's Venice.$dLondon : Souvenir, ©2003$w(OCoLC)655598299 |
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