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:6355 Wed 24 Jul 2013 22:59:11 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:4204 Wed 24 Jul 2013 22:19:17 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:3570 Wed 11 Apr 2018 16:00:37 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:3890 Wed 11 Apr 2018 12:02:56 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:4513 Wed 11 Apr 2018 11:55:17 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:7299 and WLSCM. I argue that performers have been the major protagonists in the recovery of the cantata genre in modern times. Three questions are considered. First, why have Alessandro Scarlatti’s cantatas not received a comprehensive edition, whereas other repertoires from this period (e.g. Vivaldi’s concerti) have been edited and performed many times? Second, is there a viable alternative to the complete edition as a means of disseminating this repertoire? Finally, I consider the role of repeat performances, and interpretations of a specific work by different performers, in creating a concept of the cantata repertoire.]]> Wed 11 Apr 2018 11:07:23 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:5893 Wed 11 Apr 2018 10:37:36 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:49656 Thu 25 May 2023 15:47:40 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:3069 Sat 24 Mar 2018 11:11:42 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:2462 Sat 24 Mar 2018 08:27:47 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:15568 Sat 24 Mar 2018 08:26:00 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:14994 Sat 24 Mar 2018 08:22:22 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:10188 Sat 24 Mar 2018 08:12:30 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:16448 Sat 24 Mar 2018 07:56:02 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:5644 Sat 24 Mar 2018 07:44:05 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:27702 VI Concertos in Seven Parts published by Benjamin Cooke under Alessandro Scarlatti's name in 1740 have long been suspected of being either arrangements or works by a different composer. Close study of the sources, some of which have only recently come to light, shows them to be arrangements of sonate a quattro, four composed by Alessandro Scarlatti and two by his younger brother Francesco. The unacknowledged compiler and arranger of the set was almost certainly Charles Avison, who in addition made a significant compositional intervention. The publication of the concertos formed part of a pioneering strategy on Cooke's part whereby he acquired, and under the protection of a royal privilege engraved, significant works in manuscript owned (but not composed) by individual musicians within his circle. Among the latter was John Christopher Pepusch, whose role in the first publication of Domenico Scarlatti's sonatas k31-42 is described for the first time.]]> Sat 24 Mar 2018 07:40:10 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:26419 Sat 24 Mar 2018 07:27:57 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:25190 Sat 24 Mar 2018 07:14:03 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:24177 Sat 24 Mar 2018 07:09:49 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:31649 Mon 26 Feb 2018 10:17:02 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:10851 Mon 23 Jul 2018 15:44:20 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:15627 Mon 17 Nov 2014 17:03:50 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:16690 Fri 13 Apr 2018 14:48:26 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:16674 Fri 13 Apr 2018 13:25:36 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:31654 Fri 13 Apr 2018 13:12:59 AEST ]]>