最近下载了一批巴罗克音乐和早期音乐，其中最生动的是这张比利的声乐和器乐作品集。柳特琴等古乐器伴奏为主，声乐由女高音担任。文件是APE转制的，有详细内页大图。因为CUE文件的问题，MP3用软件分割一下，与原唱片段落略有出入，不影响收听效果。

Domenico Belli (d Florence, bur. 5 May 1627). Italian composer and musician. According to Fétis he served the ducal court at Parma at the beginning of the 17th century, but documents have not been found to support this assertion. On 10 August 1607 he became a member of the prestigious Compagnia dell’Arcangelo Raffaello, which put him into contact with many of the most important Florentines of the day. In a letter of 27 October 1609 to Cardinal Ferdinando Gonzaga (also a member of the confraternity), Belli indicated that he would be glad to enter the new cardinal’s service in Rome. But he remained in Florence and from 1610 to 1613 he was tutor in music to the clerics of S Lorenzo, Florence, a position in which he succeeded Marco da Gagliano. Minutes of the chapter of canons there show that in addition he was given responsibility for music in S Lorenzo for Holy Week in 1611 and 1612. On 19 September 1618 both he and his wife Angelica were enrolled as musicians at the Medici court. He appears in payment records (in I-Fas) for the last time in April 1627; his wife continued in court service after his death.
All of Belli’s surviving music was published in 1616. He composed his Orfeo dolente for Carnival in that year. It consists of five scenes (to a text at least partly by Gabriello Chiabrera) that were presented as intermedi between the acts of Tasso’s Aminta, which the Rinaldi family had produced at their residence, the Palazzo della Gherardesca, in Florence. (The arguments for dating the work before 1600 made by A. Tirabassi: ‘The Oldest Opera: Belli’s Orfeo dolente’, MQ, xxv, 1939, are specious.) Belli also wrote the music for Jacopo Cicognini’s Andromeda, which was produced on 9 March 1618, again at the Palazzo della Gherardesca. The music is lost, but a description of it in which Belli is highly praised is contained in a letter (SolertiMBD) written by Caccini to the secretary of the Grand Duke of Tuscany the day after the performance.
In a remarkable letter written from Florence to Ferdinando Gonzaga, Duke of Mantua, on 11 June 1616, Belli indicated that his Arie were regarded as ‘difficult and unsingable’ because of the quantity of quavers in their basses. He continued by asking the duke to have the songs performed at the Mantuan court so that their unfortunate reputation might be improved. The bass lines are indeed rhythmically elaborate and are notable as well for the striking degree of chromaticism they contain. Some foreshadow the typical bass figurations of later strophic-bass cantatas, as also do the formal schemes of some of the songs. One song, Occhi belli a me severi, is in effect an early example of the form, with refrains and a ritornello in addition. Through both his harmonic and formal adventurousness, Belli belongs among the most radical monodists of the early 17th century.
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Composer: Domenica Belli
Conductor: Vincent Dumestre
Audio CD (July 9, 2003)
Number of Discs: 1
Label: Alpha Productions
ASIN: B0000AOKNY
In-Print Editions: Audio CD





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沙發上 大力支持

最近工作太忙，发帖太少了，有愧于大家，等炒饭DD忙过这阵子再与大家分享更多的好曲

罕见的古典巴罗克音乐 听听 先谢谢

聆听中，谢谢分享！

从年代上说,大体上自十六世纪末到１７５０年间的音乐称为巴罗克音乐,十六世纪末叶,在意大利的佛罗伦萨第一次上演了歌剧。这也是以爵万尼·加布里埃利为中心的威尼斯乐派的全盛时期。1750年对位法大师约翰·塞巴斯梯安·巴赫去世之年,代表巴罗克的对位法音乐可以认为以巴赫的去世而告结束。其次,巴罗克一词,原来的意思是形状不整的珍珠,最初是在建筑方面用来表明一处艺术形式。文艺复兴时的艺术是以希腊、罗马的形式美为第一义,对之而言,巴罗克是一种新的表现形式,也是后来兴起的洛可可艺术的前提。巴罗克和洛可可都起源于建筑方面,后来逐渐转用于文艺和音乐,在意大利、法国、德意志等国,各自取得了略有不同的发展。其共同的特征,是不拘泥于典型美,表现比较自由,从语义上来说,如果把文艺复兴的美学观比做浑圆的珍珠,而巴罗克的美学观则是形状不整的珍珠。它是宁可打破形式上的均整也要着重于表现的强度的一种形式。总而言之,巴罗克的形式比文艺复
  　 　 兴的形式在感情上更为丰富,且具有戏剧性的起伏,而使用绘画式和幻想式的手法者为多。若列举这一时代的意大利歌剧或协奏曲为例,便一目了然。同一时代的法国的古钢琴音乐,特别是巴罗克末期的巴赫的受难曲等,也很能说明总是另外巴罗克音乐在技法方面的一个特征,是在整个那一时代所通用的通奏低音。这就是在演奏时根据低音的旋律在键盘乐器(古钢琴、管风琴)上,按一定的规则,弹奏出半即兴式的和声伴奏。
    有一张绘画很好地表现了什么是巴罗克音乐。这是1731年的一张讽刺画,称为《亨德尔的合唱》,是夸张了巴罗克式的表情的一幅漫画。它描绘了清唱剧中"犹大"这一段合唱的情景,画中对深刻表情的夸张达到了惊人的程度。这是常被引用的这类名画之一。
    随着朝代的推移,音乐史中兴起了形形色色的形式和流派,都是起源于文学的古典主义和浪漫主义,印象主义和表现主义等,是后来从美术传入音乐方面来的。

love it

謝謝舒伯莱姆分享

thank you very much

thank you very much