Daniel Dal Barba (1715-1801) - Kyrie e Gloria
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Composer: Daniel Dal Barba (1715-1801)
Work: Kyrie e Gloria
Performers: CappeIIa MusicaIe deIIa CathedraIe di Verona
Painting: Giovanni Antonio Canal 'Canaletto' (1697-1768) - Campo Santa Maria Zobenigo, Venice (c.1730)
Image in high resolution: https://flic.kr/p/2joQj1R
Further info: https://www.prestomusic.com/classical/products/7989655--musiche-sacre-del-700-veneto
Listen free: https://open.spotify.com/album/2CCirKmhRFqbmNr1HrUWnq
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Daniel (Daniele) (Pio) Dal Barba
(Verona, 5 May 1715 - Verona, 26 July 1801)
Italian composer, violinist, singer and librettist. In 1737 he began his 50-year career as a violinist and teacher in Verona. Employment by the Archbishop of Vác (Hungary) and the Mingotti opera troupe in Pressburg (now Bratislava) (1741) established him as a composer and singer. His Veronese stage début in Pietro Chiarini’s I fratelli riconosciuti (1743) was followed by a leading part in Il Siroe (1744) and in his own opera seria, Il Tigrane (1744). During a stay in Venice in 1746–7, he sang in several opere buffe (Teatro S Angelo) and composed a parody, Il gran Tamerlano (Teatro Vendramin). Appearances in the Trent summer opera productions Artaserse and Il Demetrio preceded a post at the Trent Bishopric. In 1749 Dal Barba succeeded Domenico Zanata, former maestro di cappella at Verona Cathedral, as maestro di cappella of the Filarmonica and Filotima academies in Verona. Except for a three-year absence, he remained maestro of the Accademia Filotima until its dissolution in the 1790s. Among his later operatic ventures Ciro in Armenia (1750) is notable for its cosmopolitan, all-female cast. In 1752 he contributed to a poetic anthology in honour of the new Venetian doge. Dal Barba met Leopold and Wolfgang Mozart at the Accademia Filarmonica in January 1770; Leopold noted in a letter (11 January 1770) that he ‘sang extempore the most beautiful verses about Wolfgang’. From 1740 Dal Barba had occasionally provided sacred works for the cathedral liturgy. In April 1762 he was nominated temporary maestro di cappella at the cathedral and succeeded to the post on the death of Girolamo Zanata in 1770. In addition to composing a large quantity of masses, hymns and psalms, he taught counterpoint in the school of acolytes. He retired from this position in 1779, but continued composing until 1791. Dal Barba’s compositions reflect an easy command of the galant idiom. The 12 violin sonatas (c1747) feature supple melodic ideas, decorative lyric lines, and late Baroque formal designs. His undated cycle of five cantatas present a dialogue between the pastoral figures Fileno and Clori. The work is unusual in that his dedicatory verses to Maria Theresa are themselves set as a paired recitative and aria. His sacred works juxtapose declamatory choral and arioso solo sections, usually accompanied by violins and continuo. He continued writing polychoral settings of the Mass and vespertine psalms as late as the 1770s. The contemporary popularity his works enjoyed derived from their tunefulness, harmonic clarity and sentimental charm. #ClassicalMusic