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To Arms, Heroic Prince
03:18
International Baroque Consort

To Arms, Heroic Prince

Henry Purcell (1659-1695) Henry Purcell was alive during the middle of the baroque era, and was considered a prolific and progressive composer for his time. He began and ended his life in London from, and though he lived a short life, Purcell accomplished and contributed a significant amount to the world of music. Purcell is remembered for the opera, Dido and Aeneas; over 100 songs; and the incidental music that he composed toward A Mid Summer’s Night called The Fairy Queen. He continuously showed his ability to compose flexibly with his knowledge of past and present music theory, earning his commissions and premiers in the courts, churches, stages, and privately requested entertainment. Through his constant inventiveness, Purcell is labeled as the most original composer of the baroque era in Europe. This combative aria is thought to have been performed in Purcell’s play/instrumental music “The Libertine” based on the Don Juan legend. However as it doesn’t fit the story, scholars argue whether it was misplaced and should have been part of another play “The massacre of Paris” by Nathaniel Lee which was being staged at the same time. The Prince that is mentioned in the aria, is being urged to take up arms to either avenge or put behind him some sort of disappointment in love. __________________________________________________________ Text by anonymous poet, set by Henry Purcell To arms, Heroick Prince, to Arms, Glory, like Love has pow’rful Charms; Let Glory now thy Soul ingross, And recompence its Rivals loss: Bid Trumpets sound, and nothing name But Battles, Conquests, Triumphs, Fame. __________________________________________________________ About the International Baroque Consort The International Baroque Consort is a donation based Historically Informed Performance chamber ensemble that performs internationally. We consist of four members in the specific combination of harpsichord, baroque cello, natural trumpet, and vocalist, and occasionally collaborate with other groups and ensembles to participate in larger scale performances. All members of the ensemble are international performers and respected musicians with extensive education backgrounds in performance, always carrying a passion for music and the arts. The IBC is dedicated to giving performances that are historically accurate, engaging, inclusive, and educational, as well as providing masterclasses and music education enrichment classes for children, young adults, and professionals that may or may not be able to afford something like this normally. This is because we believe that music education and formal music performance should be available to everyone, as music is an essential part of the development and stability of the human mind, and life as a whole. The IBC formed in the midst of the COVID 19 pandemic amongst friends and colleagues to show that music can be made with anyone no matter where you are, and we hope to inspire musicians to connect with others around the world to create something special and bring people together through music. Recently, the IBC has done a tour in the United States, one of the portions being labeled as the featured artist through the Historic Brass Society for the North American Baroque Trumpet Competition, with the addition of a masterclass in new ensemble formation and ensemble skills. Performers: Timothy Dzida - Natural Trumpet Emily Yocum Black - Soprano Marina Sanchez Cabello - Cello Tiffany Vong - Harpsicord
Let the Bright Seraphim - George Frederic Handel
05:19
International Baroque Consort

Let the Bright Seraphim - George Frederic Handel

Handel (1685-1759) George Frederic Handel was a German born composer. He studied keyboard and composition student of Friedrich Zachow in Halle, Germany, and was later admitted to the University of Halle as a law student and, during this time, became the organist for the Cathedral of Halle. After a year in this position, Handel moved to Hamburg and joined the opera orchestra where he took over the duty as the harpsichordist. In 1705, his first major opera, Almira, was performed by the orchestra. Handel then spent 4 years traveling around Italy, meeting many well-known Italian musicians, among which were Arcangelo Corelli, Alessandro Scarlatti, and Dominico Scarlatti. During his time in Italy, he composed two operas, multiple Italian cantatas, a few oratorios, and a significant amount of church music for the Catholic Church. During his last year in Italy, his most successful Italian opera was premiered in Venice called Agrippina. Handel then moved permanently to England where he was appointed the Kapellmeiser (master of the chapel choir) by the future King George I. His name gained the most popularity in England after the premier of his opera, Rinaldo in London. Popularity increased with the Royal Family when he composed the famous Ode for the Queen’s Birthday in 1713. He became a composer for the Royals of England, and held a few different significant positions for the rest of his life in England, including the director of music for the Duke of Chandos and composer of the Chapel Royal. By 1741, Handel had written more than 40 operas, multiple oratorios including his most famous, Messiah, countless occasional pieces such as Water Music and Music for the Royal Fireworks, concertos for organ, plenty of large-scale choral works, and other instrumental works. His last oratorio was Jephtha, which premiered in Covent Garden Theatere. He is now currently buried in the Poet’s Corner of Westminster Abbey. ‘Let the Bright Seraphim’ is a da capo aria from Handel’s oratorio Samson. It received its premiere at Covent Garden, London in 1743. Handel began working on the oratorio immediately after completing Messiah in 1741. It uses a libretto by Newburgh Hamilton (1691-1761), who based it on John Milton’s Samson Agonistes. The oratorio tells the story of Samson’s heroic death and triumph over the Philistines. This aria comes at the very end of the oratorio, just before the final chorus. It is sung by an anonymous ‘Israelitish Woman’, who summons the celestial hosts of seraphim and cherubim to hail the dead hero. In operas and oratorios, the use of trumpet obbligato within arias was appropriate for moments of grand ceremony and celebration. ________________________________________________________ Text by Newburgh Hamilton, set by George Frideric Handel Let the bright seraphim in burning row, Their loud, uplifted angel trumpets blow. Let the cherubic host, in tuneful choirs, Touch their immortal harps with golden wires. ________________________________________________________ About the International Baroque Consort The International Baroque Consort is a donation based Historically Informed Performance chamber ensemble that performs internationally. We consist of four members in the specific combination of harpsichord, baroque cello, natural trumpet, and vocalist, and occasionally collaborate with other groups and ensembles to participate in larger scale performances. All members of the ensemble are international performers and respected musicians with extensive education backgrounds in performance, always carrying a passion for music and the arts. The IBC is dedicated to giving performances that are historically accurate, engaging, inclusive, and educational, as well as providing masterclasses and music education enrichment classes for children, young adults, and professionals that may or may not be able to afford something like this normally. This is because we believe that music education and formal music performance should be available to everyone, as music is an essential part of the development and stability of the human mind, and life as a whole. The IBC formed in the midst of the COVID 19 pandemic amongst friends and colleagues to show that music can be made with anyone no matter where you are, and we hope to inspire musicians to connect with others around the world to create something special and bring people together through music. Recently, the IBC has done a tour in the United States, one of the portions being labeled as the featured artist through the Historic Brass Society for the North American Baroque Trumpet Competition, with the addition of a masterclass in new ensemble formation and ensemble skills. Performers: Timothy Dzida - Natural Trumpet Emily Yocum Black - Soprano Marina Sanchez Cabello - Cello Tiffany Vong - Harpsichord
Faro La Vendetta by Alessandro Scarlatti
03:42
International Baroque Consort

Faro La Vendetta by Alessandro Scarlatti

Farò la vendetta Text by anonymous poet set by Alessandro Scarlatti Farò la vendetta che a me s’aspetta di quel perfido traditor che mi ha sì vilipesa fammi star così sospesa ed ha dato ad altri il cor. I will take vengeance that awaits me on that perfidious traitor that has so scorned me causing me to hang in doubt and has given his heart to others. Brief background on the composer: Pietro Alessandro Gaspare Scarlatti was an Italian composer born in Palermo, Sicily, and was alive from 1660-1725. A large amount of his life was spent in Rome, Italy among noble men and women, and royal court circles. During his time in Rome, it was claimed that he was a student of Carissimi. Scarlatti composed his first opera in Rome which marked the beginning of his professional music career. A majority of his musical life revolved around operatic compositions and religious set pieces. He began to accumulate fame after he had already written 115 operas which, the first of which won over the queen of Sweden, Queen Christina, and remained in her service as a composer until 1684. Scarlatti then became the maestro di cappella for the royal service where he composed a further 40+ operas, and other compositions simply for the musical entertainment of the royal court. Scarlatti moved on to the city of Florence, Italy in 1702 where he was commissioned to write 4 operas for the theatre of Prince Ferdinando III de Medici, but these works have unfortunately gone missing as far as scholars and musicians are aware. He returned to Naples eventually through the persuasion of a pay raise, and was also knighted and titled "Cavaliere" in 1716. Alessandro Scarlatti continued to be commissioned and employed by so many more over his life until his death in 1725, including but not limited to Cardinal Pietro Ottoboni, Pope Clement XI, Santa Maria Maggiore in Rome, and more. His music lives on and is continuously performed and admired by musicians all around the world. His music always has fantastic texture changes for the time, and he could instruct the best harmonies and sounds with the instrumentation that he tended to work with. We are performing Alessandro Scarlatti's 7 Arias for Trumpet, Voice, and Continuo, and will be releasing one of the seven arias at the end of every month until the end of August. We have already released 6, so this means that this one is the last one of the series!! So please continue to log on, sit back, relax, and enjoy as we perform this historical and beautiful music for you on historical instruments! Musicians: Victoria Armillotta - Soprano Timothy Dzida - Trumpet in D Marina Sanchez Cabello - Cello Ben Maloney - Harpsichord I hope you enjoy our performance and we thank you for your support always! If you would like to support us further, then please either subscribe to this channel, or feel free to send us a donation through one of the following platforms: PayPal: https://www.paypal.com/donate/?hosted_button_id=A2MS7THDNZ94Nhosted_button_id=A2MS7THDNZ94N
Mio Tesoro by Alessandro Scarlatti
05:43
International Baroque Consort

Mio Tesoro by Alessandro Scarlatti

Mio tesoro Text by anonymous poet set by Alessandro Scarlatti Mio tesoro per te moro! Vieni presto a consolar. Questo cor che tanto brama E ti chiama a ristorar. (My treasure I die for you! Come quickly to console This heart that so longs And calls you to restore.) Brief background on the composer: Pietro Alessandro Gaspare Scarlatti was an Italian composer born in Palermo, Sicily, and was alive from 1660-1725. A large amount of his life was spent in Rome, Italy among noble men and women, and royal court circles. During his time in Rome, it was claimed that he was a student of Carissimi. Scarlatti composed his first opera in Rome which marked the beginning of his professional music career. A majority of his musical life revolved around operatic compositions and religious set pieces. He began to accumulate fame after he had already written 115 operas which, the first of which won over the queen of Sweden, Queen Christina, and remained in her service as a composer until 1684. Scarlatti then became the maestro di cappella for the royal service where he composed a further 40+ operas, and other compositions simply for the musical entertainment of the royal court. Scarlatti moved on to the city of Florence, Italy in 1702 where he was commissioned to write 4 operas for the theatre of Prince Ferdinando III de Medici, but these works have unfortunately gone missing as far as scholars and musicians are aware. He returned to Naples eventually through the persuasion of a pay raise, and was also knighted and titled "Cavaliere" in 1716. Alessandro Scarlatti continued to be commissioned and employed by so many more over his life until his death in 1725, including but not limited to Cardinal Pietro Ottoboni, Pope Clement XI, Santa Maria Maggiore in Rome, and more. His music lives on and is continuously performed and admired by musicians all around the world. His music always has fantastic texture changes for the time, and he could instruct the best harmonies and sounds with the instrumentation that he tended to work with. We are performing Alessandro Scarlatti's 7 Arias for Trumpet, Voice, and Continuo, and will be releasing one of the seven arias at the end of every month until the end of August. We have already released 5, the last performance being at the end of June. So please continue to log on, sit back, relax, and enjoy as we perform this historical and beautiful music for you on historical instruments! Musicians: Victoria Armillotta - Soprano Timothy Dzida - Trumpet in D Marina Sanchez Cabello - Cello Ben Maloney - Harpsichord I hope you enjoy our performance and we thank you for your support always! If you would like to support us further, then please either subscribe to this channel, or feel free to send us a donation through one of the following platforms: PayPal: https://www.paypal.com/donate/?hosted_button_id=A2MS7THDNZ94N
Si Riscaldi il Tebro by Alessandro Scarlatti
04:51
International Baroque Consort

Si Riscaldi il Tebro by Alessandro Scarlatti

SI RISCALDI IL TEBRO text by anonymous author Si riscaldi il Tebro e l'onda de suoi flutti al mormorar canti a lui lodi d'amor. Vezzosetta poi risponda questi cantici d'onor delle auree al sussurar Let the Tiber warm up, and let the murmuring undulation of its waves sing to him praises of love. Let her then respond charmingly to these canticles of honor at the whispering of the breeze. Brief background on the composer: Pietro Alessandro Gaspare Scarlatti was an Italian composer born in Palermo, Sicily, and was alive from 1660-1725. A large amount of his life was spent in Rome, Italy among noble men and women, and royal court circles. During his time in Rome, it was claimed that he was a student of Carissimi. Scarlatti composed his first opera in Rome which marked the beginning of his professional music career. A majority of his musical life revolved around operatic compositions and religious set pieces. He began to accumulate fame after he had already written 115 operas which, the first of which won over the queen of Sweden, Queen Christina, and remained in her service as a composer until 1684. Scarlatti then became the maestro di cappella for the royal service where he composed a further 40+ operas, and other compositions simply for the musical entertainment of the royal court. Scarlatti moved on to the city of Florence, Italy in 1702 where he was commissioned to write 4 operas for the theatre of Prince Ferdinando III de Medici, but these works have unfortunately gone missing as far as scholars and musicians are aware. He returned to Naples eventually through the persuasion of a pay raise, and was also knighted and titled "Cavaliere" in 1716. Alessandro Scarlatti continued to be commissioned and employed by so many more over his life until his death in 1725, including but not limited to Cardinal Pietro Ottoboni, Pope Clement XI, Santa Maria Maggiore in Rome, and more. His music lives on and is continuously performed and admired by musicians all around the world. His music always has fantastic texture changes for the time, and he could instruct the best harmonies and sounds with the instrumentation that he tended to work with. We are performing Alessandro Scarlatti's 7 Arias for Trumpet, Voice, and Continuo, and will be releasing one of the seven arias at the end of every month until the end of August. We have already released 4, the last performance being at the end of May. So please continue to log on, sit back, relax, and enjoy as we perform this historical and beautiful music for you on historical instruments! Musicians: Victoria Armillotta - Soprano Timothy Dzida - Trumpet in D Marina Sanchez Cabello - Cello Ben Maloney - Harpsichord I hope you enjoy our performance and we thank you for your support always! If you would like to support us further, then please either subscribe to this channel, or feel free to send us a donation through one of the following platforms: PayPal: https://www.paypal.com/donate/?hosted_button_id=A2MS7THDNZ94N
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