#galuppi

[operasrsly]

Bruno de Sá, "Qual pellegrino errante" (Galuppi) ("As the errant pilgrim")

Qual Pellegrino errante (As the pilgrim wandering)

From the opera Evergete by Baldassare Galuppi

Libretto + translation under the cut

(Atto Primo, Senca XI) Candace

(Recitativo) Numi, voi che vegliate Fedelmente sui casi de Monarchi, Nel periglio imminente, Il destin d'Evergete a voi consegno. Quanto puote il mio amore, Già tutto oprò, confuso Così col finto ò il vero, Ch'Amasi nol saprà, d'un crudo scempio Nell'atroce desio, La gelosia del suo conservi il mio.

(Aria) Qual Pellegrino errante In solta, oscura selva, Muove l'incerte piante, Teme d'ingorda belva Il barbaro furore, E mille volte more Di pena, e di terror.

Così ne'dubbj suoi Pien d'ira, e di spavento, Ei provi ogni momento Il fiero mio dolor.

Source: [x]

English (Aria):

As the errant pilgrim in a solitary, dark forest, stirs the unsteady plants, fears the barbarous fury of the greedy beast, and a thousand times dies of sorrow, and of terror.

So shall he in his doubts full of bitterness and terror in every moment feel my terrible pain.

[metalorganisthead]

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[pavel-1975]

photo: Fabrizio Galuppi

[garland-on-thy-brow]

Anyway. Giving Celio a horse aria. Specifically Quel destrier che all'albergo è vicino (Licida's first aria in L'Olimpiade) because he and Licida are the same type of character. Cicero is of course no Megacle.

[gasparodasalo]

Baldassare Galuppi (1706-85) - Concerto a quattro No. 6 for Strings and Basso continuo in B-flat Major, II. Allemanda. Allegro. Performed by Ensemble il Falcone on period instruments.

[essenceincolour]

Fabrizio Galuppi

[usunezukoinezu]

Baldassare Galuppi (1706-1785): Musica Sacra Laudate pueri (revised by Franco Rossi) - A Solis

Judit Németh, contralto Savaria Baroque Orchestra, dir.Fabio Pirona

[musicwithoutborders]

Baldassare Galuppi / Andrea Chezzi, Sonata No. 4 in D Major: I. Adagio I 6 Harpsichord Sonatas, Op. 1, 2016

[journalofanobody]

Concerto quinto in B-Flat Major: III. Allegro

[p-isforpoetry]

"A Toccata of Galuppi's" by Robert Browning (read by Sir Alec Guinness)

I Oh Galuppi, Baldassaro, this is very sad to find! I can hardly misconceive you; it would prove me deaf and blind; But although I take your meaning, 'tis with such a heavy mind!

II Here you come with your old music, and here's all the good it brings. What, they lived once thus at Venice where the merchants were the kings, Where Saint Mark's is, where the Doges used to wed the sea with rings?

III Ay, because the sea's the street there; and 'tis arched by . . . what you call . . . Shylock's bridge with houses on it, where they kept the carnival: I was never out of England—it's as if I saw it all.

IV Did young people take their pleasure when the sea was warm in May? Balls and masks begun at midnight, burning ever to mid-day, When they made up fresh adventures for the morrow, do you say?

V Was a lady such a lady, cheeks so round and lips so red,— On her neck the small face buoyant, like a bell-flower on its bed, O'er the breast's superb abundance where a man might base his head?

VI Well, and it was graceful of them—they'd break talk off and afford —She, to bite her mask's black velvet—he, to finger on his sword, While you sat and played Toccatas, stately at the clavichord?

VII What? Those lesser thirds so plaintive, sixths diminished, sigh on sigh, Told them something? Those suspensions, those solutions—"Must we die?" Those commiserating sevenths—"Life might last! we can but try!

VIII "Were you happy?" —"Yes."—"And are you still as happy?"—"Yes. And you?" —"Then, more kisses!"—"Did I stop them, when a million seemed so few?" Hark, the dominant's persistence till it must be answered to!

IX So, an octave struck the answer. Oh, they praised you, I dare say! "Brave Galuppi! that was music! good alike at grave and gay! "I can always leave off talking when I hear a master play!"

X Then they left you for their pleasure: till in due time, one by one, Some with lives that came to nothing, some with deeds as well undone, Death stepped tacitly and took them where they never see the sun.

XI But when I sit down to reason, think to take my stand nor swerve, While I triumph o'er a secret wrung from nature's close reserve, In you come with your cold music till I creep thro' every nerve.

XII Yes, you, like a ghostly cricket, creaking where a house was burned: "Dust and ashes, dead and done with, Venice spent what Venice earned. "The soul, doubtless, is immortal—where a soul can be discerned.

XIII "Yours for instance: you know physics, something of geology, "Mathematics are your pastime; souls shall rise in their degree; "Butterflies may dread extinction,—you'll not die, it cannot be!

XIV "As for Venice and her people, merely born to bloom and drop, "Here on earth they bore their fruitage, mirth and folly were the crop: "What of soul was left, I wonder, when the kissing had to stop?

XV "Dust and ashes!" So you creak it, and I want the heart to scold. Dear dead women, with such hair, too—what's become of all the gold Used to hang and brush their bosoms? I feel chilly and grown old.

Source: Robert Browning: A Toccata Of Galuppi's - Poetry Album, 2015

[lesser-known-composers]

Baldassare Galuppi (1706-1785) - Piano Sonata No. 9 in F Minor - I. Andante spiritoso ·

Víkingur Ólafsson ·

[herpsandbirds]

Italian Wall Lizard (Podarcis siculus), male, family Lacteridae, southern Italy

photograph by Mirko Galuppi

[landrysg]

Happy hump day! Some music for a Wednesday morning:

Baldassare Galuppi (1706 - 1785), Sonata in C major

Peter Waldner performs on an Andreas Jäger organ from 1741.

[garland-on-thy-brow]

If Mingguang the opera were a pasticcio, Pei Ming would sing this. I love Galuppi so much. His Gemo in un punto e fremo is probably also there somewhere.

[Aria: Ah di Lete dall'onda profonda, from Il sagrifizio di Jefte by Baldassarre Galuppi.]

[brightsuzaku]

[ME, BANGING MY DRUM WHILE I SHOW MY FRIENDS THE HARPSICHORD]

Have you heard my most favorite instrument in the world, the PLUCKY KEYBOARD, before, at its full power?

WOE, Pancrace Royer's La Marche des Scythes be upon ye! (Harpsichordist: Yaho Mahúgo)

I've heard other interpretations with softer, brighter feelings, but this one is on the ATTACK.

Also, I do challenge y'all to find a piano version that doesn't pulverize the piece, because it sings through the harpsichord's high Attack and equally-high Decay.

Yes, I'm using ASDR to describe a wooden keyboard, it's also a chip machine:

Shovel Knight, main theme, user "galuppi":

HI, IT'S ME. I'M THE HARPSICHORD'S HYPE MAN

[essenceincolour]

Fabrizio Galuppi