Embedded Files
Antonio Joli, Departure of Charles III from Naples, 1759
Websites
Robert O. Gjerdingen's websites on partimenti and voice-leading schemata
Art of the Seventeenth and Eighteenth Centuries in Naples (Metropolitan Museum of Art) http://www.metmuseum.org/toah/hd/npls/hd_npls.htm
Musical Facsimiles
Early manuscript copy of Pergolesi's Stabat Mater on IMSLP
Early manuscript copy of Pergolesi's La serva padrona on the website Internet Culturale
Recordings
Example 3.1: Gaetano Latilla, La finta cameriera, overture, La Cappella de' Turchini, Antonio Florio, cond.
Example 3.3: Leonardo Vinci, Le zite 'n galera, Antonio Florio, cond., CD, Opus 111
Leonardo Vinci, Artaserse, Concerto Köln, Diego Fasolis, cond., CD, Virgin Classics
Also see "Audio and Video Recordings to Accompany Anthology" (click on left)
A scene from a production of Leonardo Vinci's Partenope (Rosmira fedele) that brings to life not only Vinci's music but also eighteenth-century traditions of costume and stage design. The staging is by Gustavo Tambascio.
Videos
Pergolesi's La serva padrona, Diego Fasolis, conductor, on Youtube
Leonardo Vinci, Partenope (Rosmira fedele), staged by Gustavo Tambascio, cond. Antonio Florio, DVD, Dynamic, 2013; excerpts on Youtube
Audio Compilations of Galant Schemata (on Youtube)
Prinner, Do-Re-Mi, Sol-Fa-Mi, Lully, Triadic Ascent, Triadic Fall, Meyer, Heartz, Morte, Monte Romanesca, Fonte, Quiescenza
Reading
Butler, Margaret R. “Italian Opera in the Eighteenth Century,” The Cambridge History of Eighteenth-Century Music, Simon Keefe, ed. (Cambridge: Cambridge University Press, 2009), 210–12, 232–33 Worldcat
DelDonna, Anthony R. “Opera in Naples,” Cambridge Companion to Eighteenth-Century Opera, ed. Anthony R. DelDonna and Pierpaolo Polzonetti (Cambridge: Cambridge University Press, 2009), 214–32 Worldcat
DelDonna, Anthony R. Opera, Theatrical Culture, and Society in Late Eighteenth-Century Naples (Farnham, Surrey: Ashgate, 2012) Worldcat
Feldman, Martha. Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy (Chicago: University of Chicago Press, 2007), 188–225 Worldcat
Gaspare Traversi, The Music Lesson
Gjerdingen, Robert O. Music in the Galant Style (New York: Oxford University Press, 2007) Worldcat
The Golden Age of Naples: Art and Civilization under the Bourbons, 1734–1805, exhibition catalogue, 2 vols. (Detroit: Detroit Institute of the Arts, 1981) Worldcat
Heartz, Daniel. Music in European Capitals: The Galant Style, 1720–1780 (New York: Norton, 2003), 67–169 Worldcat
Kelly, Michael. Reminiscences of Michael Kelly, 2 vols. (London: Colburn, 1826); on Google Books
Pietro Fabris, Nocturnal eruption of Mt. Vesuvius
Libby, Dennis. “Italy: Two Opera Centres,” The Classical Era: From the 1740s to the End of the 18th Century, ed. Neal Zaslaw (Englewood Cliffs, NJ: Prentice Hall, 1989), 15–39 Worldcat
Markstrom, Kurt. The Operas of Leonardo Vinci, Napoletano (Hillsdale, NY: Pendragon, 2007) Worldcat
Naples in the Eighteenth Century: The Birth and Death of a Nation State, ed. Girolamo Imbruglia (Cambridge: Cambridge University Press, 2000) Worldcat
Robinson, Michael. Naples and Neapolitan Opera (Oxford: Clarendon, 1972) Worldcat
Sanguinetti, Giorgio. The Art of Partimento: History, Theory, and Practice (New York: Oxford University Press, 2012) Worldcat
Sherrill, Paul and Matthew Boyle, "Galant Recitative Schemas," Journal of Music Theory 59 (2015), 1–61
Taruskin, Richard. The Oxford History of Western Music, vol. 2: The Seventeenth and Eighteenth Centuries (New York: Oxford University Press, 2005), 438–41 Worldcat
Teatro San Carlo in Naples: longitudinal section in Diderot's Encyclopédie
Study Guide
Some names, titles, and terms introduced in chapter 3
Michael Kelly
Le nozze di Figaro
Così fan tutte
Pietro Metastasio
partimenti
voice-leading schemata
Robert Gjerdingen
Romanesca
Prinner
Gaetano Latilla
Fonte
musico
Luigi Marchesi
Teatro San Carlo
Leonardo Vinci
Li zite 'n galera
Silla dittatore
intermezzo
La serva padrona
Topics for discussion
In the video of La serva padrona cited above (conducted by Diego Fasolis), the aria "A Serpina penserete" (score in anthology) is performed without the da capo repeat, meaning that an aria that begins in B flat major ends in G minor. Is this decision by the performers successful from a dramatic and/or musical point of view?
In discussing castrated singers, commonly called "castrati," what advantages, if any, are there to the term "musici"?
What was the "Pergolesi Myth" and does it live on today (for example, in the choice of works discussed in this book and published in the accompanying anthology)?
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