Bladmuziek
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Uitgavenummer:
ARMEPDM116
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He was one of the busiest musicians of the time .... It was said by some he composed during the night and taught during the day ..notwithstanding he continued to be present at nearly every important concert or fashionable reception given by patrons of musical art…..Benedict was a man of engaging manners, and, of course, quite a society man; yet…. he was at all times most accessible.
Aside from the elegant English humour, the fact remains that Julius Benedict was an extremely active and versatile musician – he was a composer, orchestral conductor, pianist and teacher, a pupil of Hummel and Weber (The Lily of Killarney was to be his most famous work) and well introduced into society. In 1835 he was persuaded by Maria Malibran, a great icon of the opera world, to settle in London , where he later received his knighthood. In 1845 he was appointed artistic director of the Norwich Festival, and from 1860 he began composing secular cantatas for this festival.
The title page of the work carries these words: “A song sung by Signora Adelina Patti”. This prodigious singer (1843-1919) dominated the public of the whole of Europe and of the United States in the second half of the nineteenth century, attracting legions of delirious fans like a star ahead of her time. She had a broad repertoire, based on the dramatic roles of the great opera composers such as Rossini, Gounod and Verdi, but which also included drawing-room compositions. The authoritativeness of a name such as hers on a work just about to be published was thus a guarantee of immediate success for the publisher.
The evocation of scenes of nature has always strongly attracted both the public and performers: there are many such compositions, from Vivaldi’s gardellini to the usignoli (nightingales) of Ciardi and Delibes. The combination of voice and flute with piano accompaniment has also always been popular: the Italians Giulio Briccialdi and Vincenzo De Michelis were the elegant composers respectively of A Mother and Sweet Remembrances; as further proof of the popularity of the voice-flute combination R.S. Rockstro refers to other compositions which unfortunately appear to have been lost: works by Altes, Carte, Macfarren, Ribas and other composers who are not very well known nowadays.
After a few introductory bars by the flute, with figurations which immediately echo the birdsong, the voice comes in, holding a dialogue with the two instruments. The work ends with a soaring instrumental-type cadenza of great effect which is tossed back and forth between the voice and the flute. Words by Francesco Rizzelli.
Componist(en):
Uitgever('s):
Uitgavenummer:
ARMEPDM116
Instrument(en):
ISBN:
9790215811690
Volgnummer:
932014
