L'esimio, sacerrimo Gabbietti in un suo illuminante saggio ebbe a dire " Topa et sacrum est apex toti canti stilefacti, gurgis animae famulantis in eo", e qui potremmo fermarci, stimatissimi lettori, nel descrivere quella che per noi veri estimatori del Vero Canto Stilizzato è quasi il sacro Graglio dell'arte, the top of an unreachable know that while belonging to the divine worlds are not accessible Senon paredro Pasta and his maiden, we still see emerging behind the veil of our willing ignorance.
The recent discovery by the well-known critic of the music of José Herrera avanguardonista "Vulva and coccyx, believed missing since more than three hundred years, has led us to reconsider a score that for years, while remaining firm in his glorious affluence Music on stilizzatezza, passed by a simple makeover. But it is not, and the comparison between the two scores, soon to lay at the foot of the divine pasta so that she has for you, it shows full.
But I would so much in days from a simple examination of the history of this score, starting from their composer, Gustavo Dandolo in Culfranti. I will briefly touch on a biography resting very little sources. Dandolo known fact of a single portrait (image vd), which takes in the prime of her beauty and very few pallente biography direct testimony, the first of which is contained in a long epistle to her husband, the much better known Titozzo marquisates Culfranti, wrote to the Count Palatine of Burgundy, the day after the wedding, which took place in Algiers (island of Sicily) in June 1735. And here we may quote brief passages from the letter:
"I am also delighted, his celestial height, Nunzia with great pleasure of my recent heart - as happened only the day before yesterday - a marriage with a giovinissima filly returned from Venice on pain Masionegra where, with a unique power to bind its me fate, which was by Gustavo cangiossi in person and was decorated, all my delight and my heart. Oh, how glad I am is a hard thing to say, height gracefully, and with what joy within less right to vo de catastrophe them current years now that I bring as a flower beside this morning lily white fragrant et. Oh what happiness is, Oh my god if I could submit it to you soon but I am just desponsato boy again, that my spouse is already music and also ran this morning to honor his contract in the nearby Royal, where the city is waiting for the royal theater for the latest evidence of the work. "
little information can be deduced from these lines: Gustavo Gustavo was born , to Venice, and when she married Culfranti already exercised his craft as a composer. It 's really a pity that the Culfranti did not mention the title of the Dandolo date Reggio Calabria, near Merano, in 1735, since it is not been possible to trace any source known to date.
Then, until the date of the composition of certain "Topa and the Sacred", no one seems to remember the beautiful wife of Culfranti. Nor is it known whether they have avuto una figlianza, anche se il cambio di persona subito dalla Dandolo potrebbe portarci a tendere ad un'ipotesi negativa in tal senso.
Nel 1764 la Dandolo è sicuramente già a Parma a servizio presso i Duchi degli Oceàni, come testimonia una lista di stipendi ritrovata in calce ad un libro di ricette custodito presso la biblioteca privata della famiglia Oceàni. E nel 1765 la compositrice viene portata sugli scudi grazie al suo capolavoro "La Topa e il Sacro", sulla cui genesi torneremo nella seconda parte di questa serie monografica.
Di lei si perdono ancora le tracce per almeno un'altra ventina di anni, ma nel 1786 essa viene citata nella "Gazzetta sprizzante" quale autrice di un intermezzo di grande successo, il "Dito nella camera del Sacro". Purtroppo di quest'opera dal titolo assai interessante, quasi certamente tratta dal romanzo di avventure "The itching hole" del maleste Mirò Delculle Prude, non rimangono né partitura né libretto.
Non si sa nulla della vecchiaia di Gustava Dandolo, ma non credo sia ultronea e avventata ipotesi pensare che sia stata non meno avventurosa della gioventù.
A presto per una disanima della protogenesi e partenogenesi de "La topa e il sacro".
The recent discovery by the well-known critic of the music of José Herrera avanguardonista "Vulva and coccyx, believed missing since more than three hundred years, has led us to reconsider a score that for years, while remaining firm in his glorious affluence Music on stilizzatezza, passed by a simple makeover. But it is not, and the comparison between the two scores, soon to lay at the foot of the divine pasta so that she has for you, it shows full.
But I would so much in days from a simple examination of the history of this score, starting from their composer, Gustavo Dandolo in Culfranti. I will briefly touch on a biography resting very little sources. Dandolo known fact of a single portrait (image vd), which takes in the prime of her beauty and very few pallente biography direct testimony, the first of which is contained in a long epistle to her husband, the much better known Titozzo marquisates Culfranti, wrote to the Count Palatine of Burgundy, the day after the wedding, which took place in Algiers (island of Sicily) in June 1735. And here we may quote brief passages from the letter:
"I am also delighted, his celestial height, Nunzia with great pleasure of my recent heart - as happened only the day before yesterday - a marriage with a giovinissima filly returned from Venice on pain Masionegra where, with a unique power to bind its me fate, which was by Gustavo cangiossi in person and was decorated, all my delight and my heart. Oh, how glad I am is a hard thing to say, height gracefully, and with what joy within less right to vo de catastrophe them current years now that I bring as a flower beside this morning lily white fragrant et. Oh what happiness is, Oh my god if I could submit it to you soon but I am just desponsato boy again, that my spouse is already music and also ran this morning to honor his contract in the nearby Royal, where the city is waiting for the royal theater for the latest evidence of the work. "
little information can be deduced from these lines: Gustavo Gustavo was born , to Venice, and when she married Culfranti already exercised his craft as a composer. It 's really a pity that the Culfranti did not mention the title of the Dandolo date Reggio Calabria, near Merano, in 1735, since it is not been possible to trace any source known to date.
Then, until the date of the composition of certain "Topa and the Sacred", no one seems to remember the beautiful wife of Culfranti. Nor is it known whether they have avuto una figlianza, anche se il cambio di persona subito dalla Dandolo potrebbe portarci a tendere ad un'ipotesi negativa in tal senso.
Nel 1764 la Dandolo è sicuramente già a Parma a servizio presso i Duchi degli Oceàni, come testimonia una lista di stipendi ritrovata in calce ad un libro di ricette custodito presso la biblioteca privata della famiglia Oceàni. E nel 1765 la compositrice viene portata sugli scudi grazie al suo capolavoro "La Topa e il Sacro", sulla cui genesi torneremo nella seconda parte di questa serie monografica.
Di lei si perdono ancora le tracce per almeno un'altra ventina di anni, ma nel 1786 essa viene citata nella "Gazzetta sprizzante" quale autrice di un intermezzo di grande successo, il "Dito nella camera del Sacro". Purtroppo di quest'opera dal titolo assai interessante, quasi certamente tratta dal romanzo di avventure "The itching hole" del maleste Mirò Delculle Prude, non rimangono né partitura né libretto.
Non si sa nulla della vecchiaia di Gustava Dandolo, ma non credo sia ultronea e avventata ipotesi pensare che sia stata non meno avventurosa della gioventù.
A presto per una disanima della protogenesi e partenogenesi de "La topa e il sacro".
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