La canzona and Stabat Mater: Steffani's first and last gifts to the Academy of Ancient Music?/ Colin Timms

Por: Tipo de material: ArtículoArtículoDetalles de publicación: London; Oxford: Oxford University Press, 2019Descripción: páginasTipo de contenido:
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 En: Early Music Vol. 47, núm. 1,February 2019, p.65Resumen: Towards the end of his life Agostino Steffani (1654-1728) sent examples of his work to the Academy of Vocal (later "Ancient") Music in London. It is often assumed that the first piece he sent was his madrigal Gettano i re dal soglio, but here it is argued that it may have been La canzona che volete, an anonymous and hitherto unnoticed chamber duet that precedes the madrigal in a manuscript with links to the Academy. Probably after his death, the Academy received his Stabat Mater for six voices and six instruments (plus continuo). The article accounts for this unusual scoring and suggests that Steffani did not originally intend the setting for the Academy. Whe he started it and left it unfinished, and why he completed it in the 1720s and offered it to the Academy, are further questions to which answers are proposed. It may have been Steffani's Stabat Mater that led the Academy to accept works with instruments, and also to change its name.
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Towards the end of his life Agostino Steffani (1654-1728) sent examples of his work to the Academy of Vocal (later "Ancient") Music in London. It is often assumed that the first piece he sent was his madrigal Gettano i re dal soglio, but here it is argued that it may have been La canzona che volete, an anonymous and hitherto unnoticed chamber duet that precedes the madrigal in a manuscript with links to the Academy. Probably after his death, the Academy received his Stabat Mater for six voices and six instruments (plus continuo). The article accounts for this unusual scoring and suggests that Steffani did not originally intend the setting for the Academy. Whe he started it and left it unfinished, and why he completed it in the 1720s and offered it to the Academy, are further questions to which answers are proposed. It may have been Steffani's Stabat Mater that led the Academy to accept works with instruments, and also to change its name.