Pirro Albergati (1663-1735) - Magnificat
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Composer: Pirro Albergati (1663-1735)
Work: Magnificat
Performers: Valentina Domenicali (soprano); Marcella Ventura (contralto); Andrea Fusari (tenor); Gastone Sarti (bass); Fortuna Ensemble; Roberto Cascio (direction)
Painting: Luca Giordano (1634-1705) - Assunzione della Vergine (c.1700)
Image in high resolution: https://flic.kr/p/2jJ41tg
Further info: https://www.tactus.it/products-page/secondobarocco/tc660101-pirro-capacelli-albergati-1663-1735-la-beata-caterina-da-bologna-tentata-di-solitudine-oratorio-magnificat-e-cantate-spirituali-fortuna-ensemble-direttore-roberto-cascio/
Listen free: https://open.spotify.com/album/3HphSfGBwalH33ZvYZgkRf
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Pirro (Capacelli) Albergati
(Bologna, 20 September 1663 - Bologna, 22 June 1735)
Italian composer. Born of noble parents, Marcantonio Albergati Capacelli and Vittoria Carpegna, he soon took a lively part in Bolognese musical life, and was a friend (and perhaps pupil) of G.A. Perti and Corelli. The dedication of Albergati's op.5 to Leopold I led Eitner to assume that he was in that emperor's service, but this thesis is unsupported. Although Albergati accepted a post as maestro di cappella in Puiano in 1728, his chief musical activity besides composition was that of enlightened dilettante and patron of other composers. G.M. Bononcini and Giuseppe Jacchini both dedicated works to him. The Albergati palace in Bologna, according to the chronicles, was the scene of many festive serenatas, academies and cantatas. Between 1682 and 1731 Albergati was elected 24 times to the governing body of Bologna, the Anziani. From 1701 to 1708 he served six times as gonfalonier of justice. In 1721, at the age of 58, he married a woman of 21, Elisabetta della Porta of Gubbio; she died only six years later. Although never a member of the important Accademia Filarmonica, Albergati was a prolific composer, publishing 15 sets of instrumental works, sacred music and cantatas. He also made significant contributions to the Bolognese oratorio, though mostly only the librettos of his works survive, as do those for several theatrical works. Albergati's ties with the Bolognese instrumental school of the late 17th century are evident in the sonatas and dance pieces (especially the sonata for trumpet and strings), though they lack the skill shown by his more famous contemporaries. He was at his best in vocal music: the solo cantatas and oratorios show considerable vocal virtuosity, dramatic vigour and interesting instrumental settings. His fast movements are written in an idiosyncratic manner in which fugal passages are frequently interrupted by rests, producing an abrupt style. In both fast and slow movements he frequently employed the term spicco (detached, accentuated) for notes separated by rests in all parts. The mass and psalm settings of op.4 show him firmly rooted in the Bolognese tradition of concerted sacred music established by his contemporaries, G.P. Colonna and Perti. Two of his letters to Perti are extant. #ClassicalMusic