Rondo ...
Paroles imitées de l'Italien, et Accompagnement de Piano ou Harpe, par N. Carbonel. Chanté au Concert du Théâtre Feydeau, par Mlle. Henriette Walbonne ... Prix 2tt. 10s.
[Paris]: Frères Gaveaux [PN 199], [Ca. 1797].
Folio. Disbound. 7, [i] (blank) pp.
With text commencing "Guardami un poco" from Martín y Soler's opera La capricciosa Coretta.
Journal de la Lyre d'Orphée, 1me Année No. 21.
Spine reinforced with tissue; publisher's facsimile signature handstamp to lower outer corner of page 1.
Not in RISM.
"Martin's contemporaries uniformly identified him as a composer for the amateur, usually approvingly. That he catered to the taste of the public, whose approbation in turn encouraged him to develop his lyrical style, is borne out by the publication of favourite numbers which were uniformly in song style." Dorothea Link in Grove Music Online.
"The term ‘rondò’ was often used loosely, along with ‘rond’ and ‘rondeau’, terms frequently applied to what is now identified as the vocal rondò with a recurring theme in the tonic key that creates the basic pattern ABACA. Arias identified by any of these terms tend to express moments of high emotional intensity... Since ‘rondò’ identified an aria of special distinction, composers were not above appealing to the vanity of their singers by assigning the term to arias that were clearly not rondòs in form, content or placement. In 19th-century opera, the form of the rondò became modified and its musical content expanded, the term often being applied loosely to any second-act aria for a principal singer in a two-act opera." Don Neville in Grove Music Online.
Item #36375
Price: $75.00 other currencies