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Benigno Zerafa (1726-1804) and the Neapolitan galant style /
This book is the first-ever study of Malta's major eighteenth-century composer, Benigno Zerafa (1726-1804), a specialist in sacred music composition. Zerafa's large-scale and small-scale vocal and choral works, mostly written during his long service as musical director at the Cathedral of...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Woodbridge :
The Boydell Press,
2016.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Aquilina, Frederick, |e author. | |
| 245 | 1 | 0 | |a Benigno Zerafa (1726-1804) and the Neapolitan galant style / |c Frederick Aquilina. |
| 264 | 1 | |a Woodbridge : |b The Boydell Press, |c 2016. | |
| 300 | |a 1 online resource | ||
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| 504 | |a Includes bibliographical references and index. | ||
| 520 | |a This book is the first-ever study of Malta's major eighteenth-century composer, Benigno Zerafa (1726-1804), a specialist in sacred music composition. Zerafa's large-scale and small-scale vocal and choral works, mostly written during his long service as musical director at the Cathedral of Mdina, have been winning increased recognition in recent years. In addition to describing and analysing this extensive corpus, the book gives an account of Zerafa's sometimes eventful career against the wider background of the rich musical and cultural life in Malta, especial attention being paid to its strong links with Italy, and particularly Naples, where Zerafa was a student for six years. It examines in detail the complex relationship of music to Catholic liturgy and investigates the distinctive characteristics of the musical style, intermediate between baroque and classical, in which Zerafa was trained and always composed: one that today is commonly labelled 'galant'. Well stocked with music examples, the book makes copious reference to Italian and Maltese composers from Zerafa's time and to modern analytical studies of Italian music from the middle decades of the eighteenth century, thereby offering a useful general commentary on the galant period. Its central aim, however, is to stimulate further interest in, and revival of, Zerafa's music. To this end the book contains a complete work-list with supplementary indexes. Scholars and students of eighteenth-century music, in particular sacred music, the galant style and Italian music, will find it invaluable. FREDERICK AQUILINA is Senior Lecturer in Music Studies at the University of Malta. | ||
| 505 | 8 | |a Z1, Dixit Dominus in G (1743)Z86, Dixit Dominus in F (1755); Z95, Dixit Dominus in G (1756); 6 The Works for Five Voices (SSATB); (1) Masses (Kyrie-Gloria); Z13, Mass in D (1745); Z18, Mass in D (1747); Z119, Mass for the Dead in f (1765); (2) Psalm; Z10, Dixit Dominus in D (1745); 7 The Works for Four Voices (SATB); (1) Masses (Kyrie-Gloria); Z8, Mass in C (1744); Z9, Mass for the Dead in f (1744); Z16, Mass (Pastorale) in A (1746); Z21, Mass in Eb (1751); Z122, Mass in D (1772); (2) Sections of the Mass (Credo); (3) Psalms and Canticles; Z12, Dixit Dominus in F (1745) | |
| 505 | 8 | |a Z20, Dixit Dominus in F (1751)Z100, Dixit Dominus in D (1757); Z35, Beatus vir in D (1753); Z23, Laetatus sum in D (1753); Z46, Magnificat in G (1753); Z85, Magnificat in D (1754); Z101, Magnificat in F (1758); (4) Hymn; Z17, Te Deum laudamus in D (1746); (5) Sequences; Z31, Lauda Sion in A (1753); Z54, Victimae paschali laudes in D (1754); (6) Motets; Z19, Laeta, surge, dulcissima aurora in F (1749); Z107, Ad faustum, ad festum in D (1759); 8 The Works for Three and Two Voices, and for Solo Voice; The Works for Three Voices (STB, SAB, SSB); (1) Mass (SSB) (Kyrie-Gloria); Z113 in G (1764) | |
| 505 | 8 | |a (2) Introductory Versicle, Psalms and Canticle (SSB)Z109, Deus in adjutorium in F (1764); Z110, Dixit Dominus in F (1764); Z111, Laudate pueri in D (1764); Z112, Magnificat in G (1764); The Works for Two Voices (SA); Z7, Litany in G (1744); The Works for Solo Voice; (1) Psalms; Z117, Confitebor in D (1765); Z14, Beatus vir in F (1745); Z120, Beatus vir in Eb (1766); Z147, Laudate pueri in D (no date); Z116, Nisi Dominus in G (1764); (2) Offertories; Z62, Sacerdotes Domini in F (1754); Z74, Domine Deus in simplicitate in G (1754); (3) Motets; Z97, Rorate caeli in F (1757) | |
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