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The Church Music of Davide Perez: a catalogue in progress
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A catalogue of Davide Perez's (1711-1778) church music. Perez was one of the greatest Neapolitan composers of the eighteenth century. His generation, which also had names such as Giovanni Battista... More > Pergolesi and Niccolò Jommelli, was responsible for the enormous prestige that opera seria had during their times. But, because of his religious character and personal devotions, Perez had also a long and strong commitment to church music. This commitment was reflected not only in the large number of pieces Perez composed, or in the dramaticism of his later music, but also in the knowledge and command he had on the traditional technical possibilities of church styles. It is hoped that this catalogue will make Davide Perez’s church music better known, and help to confirm his position — like his contemporaries believed — as one of the greatest Italian composers of the century.< Less
The Church Music of Davide Perez and Niccolò Jommelli
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This is a study of the church music by Davide Perez and Niccolò Jommelli and of how their styles evolved in relation to social and aesthetic influences. Both Neapolitans, they were amongst the... More > most eminent composers in eighteenth-century Europe. In many aspects their lives followed a parallel progress, interweaving with persons and institutions in Naples, Rome, Vienna, Venice, and Lisbon. Jommelli has always had a place in the histories of music as a reformer of opera seria. Perez however—a musician who after one of the brightest careers in mid-century operatic Italy, dedicated himself for his last twenty-three years almost exclusively to church music—was unjustifiably almost completely forgotten. The second part has to do with the funeral music. This comprises the Office and Masses of the Dead, and the Triduum offices, which is very similar to the former. Their music—which presents the Christian hope for personal immortality in a very sentimental and melancholic mood — is quoted extensively.< Less
A noite, a música: ensaios de filosofia e criação musical
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Tratar a música como uma “linguagem” aporta uma dificuldade: linguagem pressupõe necessariamente um compartilhamento de referências ao mundo, um acordo social. Pensar... More > a música como expressão ou comunicação — que são as sugestões lógicas ao tomá-la como linguagem — não é ontologicamente necessário. A metáfora que se averigua aqui, no lugar de “música é linguagem” será a de “música é jogo”. Examinando a música sub specie ludi, podemos observar de mais perto elementos de sua natureza íntima e buscar uma saída para os problemas de compreendê-la em nosso mundo atomizado. O comum a todos os seis artigos apresentados aqui, além de evitar a velha metáfora da música como linguagem, é que seu ponto de partida foi a filosofia cognitiva. É um livro sobre a criação musical para músicos, mas há também o que possa ser aproveitado por alguém cujos interesses sejam ligados não à música em primeiro lugar, mas à filosofia ou à história da arte, à cognição e, quem sabe, à psicanálise.< Less
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