https://nova.newcastle.edu.au/vital/access/manager/Index ${session.getAttribute("locale")} 5 https://nova.newcastle.edu.au/vital/access/manager/Repository/uon:6328 Wed 24 Jul 2013 23:00:38 AEST ]]> https://nova.newcastle.edu.au/vital/access/manager/Repository/uon:4227 Wed 24 Jul 2013 22:19:18 AEST ]]> https://nova.newcastle.edu.au/vital/access/manager/Repository/uon:4202 Wed 24 Jul 2013 22:19:16 AEST ]]> https://nova.newcastle.edu.au/vital/access/manager/Repository/uon:52131 Wed 06 Mar 2024 14:17:21 AEDT ]]> https://nova.newcastle.edu.au/vital/access/manager/Repository/uon:22132 Tue 23 Feb 2016 15:40:22 AEDT ]]> https://nova.newcastle.edu.au/vital/access/manager/Repository/uon:4887 Sat 24 Mar 2018 07:22:01 AEDT ]]> https://nova.newcastle.edu.au/vital/access/manager/Repository/uon:4886 Sat 24 Mar 2018 07:22:00 AEDT ]]> https://nova.newcastle.edu.au/vital/access/manager/Repository/uon:32779 A voi che l’accendeste, a cantata per musica, form an intriguing cluster of works in the late seventeenth-century Italian solo cantata repertoire. The most notable of the settings is that by Alessandro Scarlatti, of which six manuscript sources are currently known—two more than the next most numerous, by the Bolognese composer Giacomo Perti. Scarlatti’s setting arguably touches the profound vein of Paglia’s text with a richness and originality surpassing that of his contemporaries: the survival of Scarlatti’s work in six sources, including one copied by the French collector Sébastien de Brossard, points to the high regard in which it was held. However, each of the settings shows skill, imagination, and in several cases, some intriguing links with the setting of Alessandro Scarlatti, suggesting that they were not composed entirely in isolation from each other.]]> Mon 31 Jul 2023 08:59:25 AEST ]]> https://nova.newcastle.edu.au/vital/access/manager/Repository/uon:10851 Mon 16 Sep 2024 12:37:15 AEST ]]> https://nova.newcastle.edu.au/vital/access/manager/Repository/uon:3069 Fri 13 Sep 2024 13:11:59 AEST ]]>