The Castrato: Reflections on Natures and Kinds (Ernest Bloch Lectures)
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than an all-silvery one, unchanging timbrally throughout the extension, since the former could make veiled, covered sounds in impassioned moments and, alternating between nearly opposed head and chest, produce swift expressive shifts of color.51 It hardly seems coincidental that Pasta, master of registers and registral leaps, should also have been aligned with the bel canto of the castrati. • • • The tangible footprints borne by Crescentini’s “Ombra adorata” and carried forward with
to zero, moving to a maximum displacement in the other direction and finally back to zero. The time taken to complete this cycle is the period and the inverse of this quantity is the frequency. When the unit of time is the second, the unit of frequency is the hertz (abbreviated Hz), which is identical to the obsolete cycle per second (c.p.s.).” Clive Greated, “Frequency” GMO. See also Charles Taylor with Murray Campbell, “Sound,” GMO, esp. �4, “Human Response and Physical Measurement.” Clapton
riflessioni pratiche sopra il canto figurato [Vienna: Ghelen, 1774], 43–44) Cf. also article 8, “Of the Union of the Two Registers, Portamento of the Voice, and of the Appoggiatura,” paragraph 7. 42. Johann Adam Hiller, Treatise on Vocal Performance and Ornamentation by Johann Adam Hiller, translated and edited by Suzanne J. Beicken (Cambridge: Cambridge University Press, 2001), originally published as Anweisung zum musikalisch-zierlichen Gesange (1780), 54, sect. 8. Mancini designated the
from Farinelli’s reception at court later that spring: “Dopo terminata la prima cantata, venne il gentilissimo signor Principe Pio da parte dei Patroni a dimandarmi che senso mi faceva tale notizia. Risposi allo stesso, che i trilli hanno guadagnati quelli [docati], e spero che i medesimi possano riguadagnarne de gl’altri; sentito questo, si attaccorono a ridere d’un gran gusto, e poi l’Imperatrice mi disse che non dubitasse che sarò pagato” (ibid., 101, letter of April 26, 1732). 55.
Eighteenth-Century Theatre Research, 2nd ser., 13 (1998): 1–24. Cervantes, Xavier, and Thomas McGeary. “From Farinelli to Monticelli: An Opera Satire of 1742 Re-examined.” Burlington Magazine 141, no. 1154 (May 1999): 287–89. Chambers, Ephraim. Cyclopaedia, or, An Universal Dictionary of Arts and Sciences Containing an Explication of the Terms, and an Account of the Things Signified Thereby, in the Several Arts both Liberal and Mechanical, and the Several Sciences, Human and Divine . . . 4th