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Alkuperäinen

Ingratissima Clori. Piano and Keyboard sheet music. Soprano Voice sheet music.

Käännös

Ingratissima Clori. Piano ja näppäimistö nuotit. Soprano Voice nuotteja.

Alkuperäinen

Ingratissima Clori composed by Benedetto Vinaccesi. Edited by Michael Talbot. For Soprano voice and basso continuo. Full score and parts. 92x8. pages. Duration 7 minutes. Published by Edition HH Music Publishers. HH.HH105-FSP. ISBN 1-904229-63-8. IThe text for Ingratissima Clori does not appear in Ottoboni's Trattenimenti poetici, and its authorship is therefore uncertain. However, it exhibits one of Ottoboni's most consistent stylistic 'trademarks' - the use of end-rhyme throughout the recitative stanzas. , not merely in a final couplet. - and the worldly- wise view of romantic love expressed in it. amounting to. if one love-object is unresponsive to you, seek another. is very much in his vein. It should be considered a candidate for his authorship. The text comprises two arias, each introduced by a short recitative. This is the 'RARA' layout that dominated the cantata around 1700, before becoming displaced from favour in its turn by the even more condensed 'ARA' layout.

Käännös

Ingratissima Clori composed by Benedetto Vinaccesi. Muokannut Michael Talbot. Sopraanolle ääni ja basso continuo. Täysi pisteet ja osat. 92x8. sivut. Kesto 7 minuuttia. Julkaisemat Edition HH Music Publishers. HH.HH105-FSP. ISBN 1-904229-63-8. IThe text for Ingratissima Clori does not appear in Ottoboni's Trattenimenti poetici, and its authorship is therefore uncertain. However, it exhibits one of Ottoboni's most consistent stylistic 'trademarks' - the use of end-rhyme throughout the recitative stanzas. , Ei pelkästään lopullinen säepari. - and the worldly- wise view of romantic love expressed in it. amounting to. if one love-object is unresponsive to you, seek another. is very much in his vein. It should be considered a candidate for his authorship. The text comprises two arias, each introduced by a short recitative. This is the 'RARA' layout that dominated the cantata around 1700, before becoming displaced from favour in its turn by the even more condensed 'ARA' layout.