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African-American Spiritual)ĢParts of the electroacoustic composition GAMMA - based on recordings of the japanese Koto-player Chieko Mori and previously unreleased improvisation with Chieko Mori koto, Michael Galasso violin, Frank Colon percussion (recorded at The Looking Glass Studio, Broadway, N.Y. SUPPORTWienKultur, Wien Leopoldstadt, Bildrecht GmbH, NÖ KulturġPerformance involving two songs: O Cessate di Piagarmi (Allessandro Scarlatti, 1660-1775). PRODUCTIONTanz*Hotel / Art*Act Kunstverein VIDEO, DOCUMENTATIONUlrich Kaufmann, Sigrid Friedmann | ORGANISATIONClaudia Bürger LIGHT DESIGNKlaus Greif | STAGINGNoemi Fischer | SOUND ENGINEERINGKlaus Gstettner | RECORDED VOICE 3 Lilly ProhaskaĬOSTUME SUPERVISION 4Hanna Adlaoui Mayerl | CONTENT-RELATED ASSISTANTReinhard F. SPACE, INSTALLATION, PERFORMANCEHannes MlenekĬOMPOSITION, ACOUSTIC PRESENTATION 2Günther Rabl Report with pics Medusa*Expedit, DerStandard Rondo (ger)ĬHOREOGRAPHY, STAGE, PERFORMANCE 1 Bert Gstettner Thus, Medusa*Ode touches upon and connects the fateful myth, the unforgotten human failure of the historic shipwreck and the contemporary tragedies of refugees fleeing over the seas – to offer a glimpse of a better future. Medusa*Ode goes beyond the historical events and follows the myth of Medusa to its origin – the fate of the eerie Gorgon and the protective magic connected to her beautiful and terrible appearance. The events on board the Frigate Medusa, which was shipwrecked off the coast of West Africa in 1816, have found their artistic counterpart and reworking in the painting „The Raft of the Medusa“ by French Painter Théodore Géricault. The editions linked here may differ somewhat, but they are also likely to be overly romantic in style.At the centre of our danced, painted and musical ode is a true story. Though they aren’t very stylistically correct, they are perhaps the most familiar. The pieces in that collection were generally set with very romanticized accompaniments. Important note: This Baroque Italian aria is perhaps best known as it appears in Schirmer’s Twenty-Four Italian Songs and Arias. According to, it is by Francesco Bartolomeo Conti (1681-1732).attributed to Benedetto Marcello (1686-1739).Title: Quella fiamma che m’accende (The first line of the aria)Īlternative Title: Il mio bel foco (The first line of the recit.) Range: C♯4 – C5 (D5 with given ornamentation).Title: O cessate di piagarmi (from an aria in Pompeo) IPA for Sebben, crudele, courtesy of IPANow! transcription software. Search YouTube for Pur dicesti, o bocca bella.
![o cessate di piagarmi background o cessate di piagarmi background](https://musescore.com/static/musescore/scoredata/g/8384ee5288c6d44588264c333566e68cd3f6f7b7/score_0.png)
Range: D3 – F♯4 (Voice line in Bass Clef).Note: This is Parisotti’s well known arrangement.For more stylistically correct versions of most of these common Italian songs and arias, consider purchasing 26 Italian Songs and Arias, edited by John Glenn Paton, which is available in Medium High and Medium Low editions that each come with an accompaniment CD. The pieces in that collection were sometimes set with less than historically accurate accompaniments. Important note: This Baroque Italian aria is perhaps best known as it appears in Schirmer’s Twenty-Four Italian Songs and Arias, most of which had appeared previously in the Anthology of Italian Song of the Seventeenth and Eighteenth Centuries. If you are not able to see these, consider installing a more universal Unicode font on your computer. Note: Art Song Central uses the Unicode symbols for sharps (♯) and flats (♭) in these song posts. IPA for Se tu m’ami, se sospiri, courtesy of IPANow! transcription software. Se Tu M’ami (formerly Attributed to Pergolesi) – Cecilia Bartoli.Source: German, French and Italian Song Classics.Source: Anthology of Italian Song of the Seventeenth and Eighteenth Centuries.Text: Paolo Antonio Rolli (1687-1765) (Link is to Italian Wikipedia entry) Parisotti attributed it to Giovanni Pergolesi (1710-1736).