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Vogt: Selected Works for cor anglais and piano

£10.00

Vogt: Selected Works for cor anglais and piano

£10.00

Description

FE74            cor anglais, piano and soprano

Lungi da te, the Prayer, Romance and Cavatina

“Lungi da te” is taken from Giuseppe Sarti’s opera Armida e Rinaldo (1786). Here we see a simple cantilena used by Vogt as a medium for elegant to extravagant embellishments. Vogt’s transcription dates from 1825-27.

The Prayer, “Ciel pietoso, ciel clemente” from Niccolò Antonio Zingarelli’s Giulietta e Romeo (premièred La Scala 1796), was made famous by the castrato Girolamo Crescentini (1762-1846) who was highly regarded as a master of the stilo patetico and the highly nuanced improvised ornaments associated with it. In the Prayer,perhaps more than in any other compositionby Vogt, it is clear that ornamentation was an evolving part of Vogt’s performance style.

Romance from Nina

In his memoires Berlioz recalls how in 1822, the year he arrived in Paris, he had heard Vogt play “Quand le bien-aimé reviendra” from Dalayrac’s Nina, ou la Folle par Amour.

“The ballet pleased me greatly, and I was deeply
moved listening to Vogt play a hymn tune that the
Ursuline nuns had sung at my first communion on
his cor anglais while Mlle Bigottini’s pantomime
expressed Nina’s deep affliction. It was the romance
“Quand le bien-aimé reviendra.” One of my neighbours
was humming the words and told me the name of the
opera and the composer from whom Persuis had
borrowed it, and I learnt that it belonged to Nina by
Dalayrac. I found it hard to believe, regardless of the
talent of the singer who had created the role of Nina,
that the melody could ever have had such a genuine
effect and touching expression from the mouth of a
singer as it did from Vogt’s instrument and the
celebrated mime’s dramatization.” (Memoires ch.5)

The Cavatine (VIII:8) is a transcription of Michele Carafa’s setting of Metastasio’s famous canzonette addressed to the legendary Farinelli. Like the other pieces in this collection, Carafa’s tune would have been well known to the concert and salon audiences of Vogt’s day. Although his music is now largely forgotten, Carafa (1787-1872) was a particularly prolific composer and life-long friend of Rossini with whom he collaborated on a number of occasions. He was also a personal acquaintance of Vogt’s and in 1853 dedicated a short Andante for English horn and piano to the oboist in the latter’s Souvenir Album.

Cor anglais part, vocal score and piano score £10

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