Girolamo Frescobaldi Se l’aura spira (1613-1643) Cosi mi disprezzate Michel Lambert Vos mépris chaque jour (1610-1696) Par mes chants tristes et... more
Girolamo Frescobaldi Se l’aura spira (1613-1643) Cosi mi disprezzate
Michel Lambert Vos mépris chaque jour (1610-1696) Par mes chants tristes et touchants Le repos, l’ombre, le silence Tout l’univers obéït à l’amour
Giovanni Legrenzi “Lumi potete piangere” from Venere sopra un scoglio (1626-1690)
Claudio Monteverdi Quel sguardo sdegnosetto (1567-1643) Zefiro torna
Jean-Joseph Cassanéa Selections from Pièces de clavecin avec voix ou de Mondonville violon op.5 1. Regna terrae, Cantate Deo (1711-1772) 5. Paratum cor meum
Girolamo Frescobaldi “Balletto-Corrente-Passacagli” from Toccata (1613-1643) d’intavolatura Maddalena alla Croce
Louis-Nicolas Clérambault Gloria in excelsis Deo, C.99 (1676-1748)
Cesare Morelli made thirty-two arrangements of airs and recitative from Lully's operas, Cadmus et Hermione and Thesee, for his employer Samuel Pepys, in the early 1680s. These arrangements were created at a time when French music,... more
Cesare Morelli made thirty-two arrangements of airs and recitative from Lully's operas, Cadmus et Hermione and Thesee, for his employer Samuel Pepys, in the early 1680s. These arrangements were created at a time when French music, including developments in early opera, was exercising strong influence on culture in England. This research presents a performing edition of these previously unpublished and unrecorded arrangements, with an accompanying recording, and places them in their musical and historical context, with a focus on the guitar. Detailed examination of the manuscript shows that Morelli's arrangements have many similarities to available sources of Cadmus and Thesee, but that there are significant differences. This raises questions about his own source material and his decisions as an arranger. The operatic productions that took place in France in the 1670s were grandly expensive and politically meaningful but Morelli's arrangements represent a contrasting reduction to the domestic sphere using minimal forces. Almost from the time of their composition, Lully's scores are not textually fixed; they are disseminated throughout European musical life, used and re-imagined by those who could obtain the music.
