#Rome instrumenta vocalia slave professional#
#Rome instrumenta vocalia slave zip#

He edits choral scores for several publishers, including Suvini Zerboni, Carrara, Rugginenti, Discantica, Carisch and BMM. He regularly sits as a jury member for various national and international choir competitions.

#Rome instrumenta vocalia slave professional#

He conducts professional orchestras with and without choir, in symphonic and choral-symphonic repertoire: with choirs and vocal ensembles, he has been recognized for his outstanding recordings, in early and contemporary music, some of which are first world recordings. From 1989 to 1992 he was Deputy Director of the RAI (Italian National Broadcasting Network) Chamber Choir in Rome, with whom he made recordings for RAI Radio-3. Berrini is also the founding Artistic Director of the Chamber Choir of the Conservatorio Antonio Vivaldi in Alessandria, Italy, and the Artistic Director of Vocalia Consort in Rome, of whom he’s been a guest conductor since 2009. Since 2014, he has conducted the Gesualdo Consort of Gesualdo, a professional vocal quintet, specialized in early music. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: From 2009, he is Artistic Director and conductor of the National Choir of CEI (Italian Episcopal Conference).Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. Typically, access is provided across an institutional network to a range of IP addresses. This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution.

#Rome instrumenta vocalia slave zip#

There's nothing here that Bach himself wouldn't at least have thought about doing, and the historical-instrument performances of these young players have the zip and the organic feeling that have marked the many fine performances of Baroque music issuing from Italy in recent years.Click Sign in through your institution.Shibboleth / Open Athens technology is used to provide single sign-on between your institution’s website and Oxford Academic. Yet despite inferior sound the disc is listenable for general audiences. This is clearly not a must-have for the average Bach listener, and the disc's orientation toward specialists is made clear by the use of the unspelled and unexplained acronym NBA (Neue Bach Ausgabe, or New Bach Edition, not National Basketball Association). The Concerto in D minor for violin, strings, and continuo (tracks 1-3), with the puzzling catalog listing of BWV 1059, 35, and 12, and the Concerto in D minor for organ, strings, and continuo, BWV 1053, 49, and 169, are works assembled from various library fragments. The overall effect resembles that of musicians warming up in a church, with disconnected fragments of music floating in the air. With such a small group, the boundary between solo and tutti isn't clear, and things aren't helped by murky church sound. The distinctive quality of the version here is that the piece is made instead into a sort of concerto grosso, with solos bouncing around the membership of the ensemble. An available version by violinist/conductor Rinaldo Alessandrini turns the Italian Concerto into a concerto for violin and orchestra.

But it's certainly true that Bach wouldn't have hesitated to make a version for strings if he had happened to need one, and the small (basically one instrument per part) ensemble Insieme Strumentale di Roma is not the first to perform the work this way.

Part of what makes the piece so compelling is Bach's ingenuity in transferring details of Vivaldian string writing to the keyboard. The chief example of the latter is the album's title track, the 'Concerto nach italienischem Gusto,' better known as the Italian Concerto, BWV 971, and one of Bach's most familiar works for solo keyboard. In fact, all of them are arrangements, running from alternate versions that are generally agreed to have existed and to have been Bach's own originals of pieces better known in another form (the last two works on the program) to purely speculative hypotheses. Many listeners may be puzzled by the tracklist for this Italian release, containing previously unfamiliar concertos by J.S.