#baroque vivaldi recordaredomine 18th century conductors

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Happy Birthday Nicola Porpora!

Fiant aures tuae intendentes in vocem deprecationis meae.

Let thy ears be attentive to the voice of my supplication.

Nicola was born in Naples on 17 August 1686, the third of ten children of the bookseller Carlo and Caterina di Costanzo. At the age of 10, Nicola was enrolled in the Conservatorio dei Poveri di Gesù Cristo and become pupil of Gaetano Greco. At the age of 29, Nicola Porpora trained Farinelli, Caffarelli, Salimbeni, and other celebrated vocalists, as a teacer at Neapolitan Conservatorio di Sant'Onofrio and with the church Poveri di Gesù Cristo. The composition that you are listening is Aria from a substantial setting of the De Profundis in 9 movements, written in 1744 for the church of the Ospedaletto in Venice, where he was appointed Maestro del coro. The soloists in the original score from 1744 ware entered as: Bernadetta, Elisabetta Pia, Lauretta (soprani), with Angioletta Moro and Barbara (contralti). As is common in these liturgical settings, Porpora features most talented students first, the first soprano and alto arias being the most virtuosic. A celebrated composer and singing teacher, Porpora’s ability to set the Italian language to music was internationally acknowledged during his lifetime.

Cover art:

● Detail from "Apparition of the Virgin to St. Bernard", completed around 1485–1487. Artist: Filippino Lippi (April 1457 – Florence, 18 April 1504).

The picture was commissioned for the chapel of Francesco del Pugliese by the latter's son Piero, who is portrayed in the lower right corner in the traditional praying posture of the donor portrait (not visible in this detail). It is one of the most admired Lippi's works, due to its powerful, Flemish-inspired romanticism and attention to details, which contribute in turning the mystical apparition of the Virgin to St. Bernard into an everyday life scene. The composition is set in a rocky landscape in which the saint, while writing on his lectern, is suddenly visited by the Virgin. Behind Bernard's shoulders is depicted the demon biting his chains (not visible in this detail), this is a reference to a medieval hymn celebrating the Virgin as the liberator of humanity from the chains of their sins. A scroll on a rock contains a verse by the 3rd century AD stoic writer Epictetus: Sustine et abstine ("Carry on and abstain"), a hint to Bernard's teachings. Some scholars have identified in the faces of the Virgin and the angels on the left the portraits of the donor's wife and sons. It is housed in the Badia Fiorentina, a church in Florence.

Performed by: ● Dresden Instrumental Concert & Dresden Vocal Concert ● Peter Kopp (conductor)

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First performance: Conservatorio di S. Onofrio, Naples

Original handwritten manuscript: Conservatorio di Musica San Pietro a Majella (Naples Conservatory of Music)

Composed by Nicola Fago who was teacher (primo maestro) at the Conservatorio di Sant’ Onofrio a Capuana, in the period from 1704 to 1708,  “Initium sapientiae timor Domini” [as part of Vulgate, Psalm 110, Confitebor] was setting commonly used for Vespers accompanied with other liturgical pieces in Neapolitan churches. Nicola Fago was the first Neapolitan composer of comical operas, but it is his sacred music which has brought him fame. Five settings of Psalm 110 that Fago composed, required usually 4 to 5 voices in total with texts that were the standard ones contained in the biblical Book of Psalms.

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Oratorio: Sanctus Petrus et Sancta Maria Magdalena Year performed: 1758 First Performance: Ospedale degli Incurabili, Venice Original score: Lost Copy preserved by: Peter August (1726-1787)

Collection: Sächsische Landesbibliothek, Dresden Aria “Mea tormenta, properate!” is from Hasse's sacred oratorio “Sanctus Petrus et Sancta Maria Magdalena” or shorter "Magdalena".

It was performed at the church that once stood in courtyard of the hospital at the Ospedale degli Incurabili in The Republic of Venice. Surviving libretto (in Latin) of  sacred oratorio "Magdalena" by unknown author indicating performance happened in the year 1758, with names of the Ospedale soloists: Laura Raimondi, Regina Rossi, Francisca Rubini, Teresia Rosi and Margarita Niccolini. Complete score of the Oratorio Magdalena was found in the document once copied by the hand of the Dresden court harpsichordist and copyist Peter August. The fate of the probably lost original catalog of August III's music collections remains unknown.