https://archive.org/details/catalogueofengli00ames/page/46/mode/1up
segunda-feira, 18 de maio de 2026
Anastasia Robinson
Anastasia Robinson
grafik
https://digital.onb.ac.at/rep/osd/?10E0B0E5
https://digital.onb.ac.at/rep/osd/?10E0B10B
https://digital.onb.ac.at/rep/osd/?10E0B114
https://en.wikipedia.org/wiki/Anastasia_Robinson
https://archive.li/gJVCJ
https://archive.org/details/17778571998888bsb-11384147/page/300/mode/1up?q=Thomas
https://archive.org/stream/17778571998888bsb-11384147/17778571998888bsb11384147_djvu.txt
BOOK IV. Guwaok., J.
R. Handel continued to fulfil his engagements with the direc
tors, until the year 1726, when, having compofed a new opera,
entitled Aleffandro, and engaged a new finger, namely Signora Fau-
ftina, he laid the foundation of a difpute, that terminated in the ruin
of the whole undertaking.
But before we proceed to relate the circumftances of this event, it
may be obferved that it feemed to be no more than the neceflary
confequence of that extravagant applaufe which the opera au-
dience had fhewn itfelf ever ready to beftow on their favourites among
the fingers. Senefino was one of the firft that difcovered this bene-
volent propenfity in the Englifh, and he laboured by a vigo~
rous exertion of all his powers, to cultivate and improve that good
opinion which had been conceived of him on his firft appearance
among us; and it was not long before he began to feel his own im-
portance. Handel was not a proud man, but he was capricious : In
his comparifon of the merits of a compofer and’ thofe of a finger, he
eftimated the latter at a very low rate, and affected to treat Senefino
with a degree of indifference that the other could but ill brook; in
fhort, they were upon very ill terms almoft from the time of their
firft coming together ; but in a year or two after Fauftina’s arrival,
the
Chap.1: AND PRACTICE OF MUSIC. 301
the flame of civil difcord burft forth, and all was diforder and confu-
fion. The two women were foon fenfible, from the applaufe beftow-
ed upon Senefino, that the favour of an Englith audience was worth
courting ; and in proportion as it appeared defirable, each of them
began to grow jealous of the other: Senefino had no rival, but each
of the women was poffeffed of talents fufficient to engage a very
ftrong party. To render the hiftory of this conteft a ee will
require a fhort digreflion,
‘ MRS.ANAS TASIA ROBINSON.
AFTERWARDS COUNTESS OF PETERBOROUGH.
Mrs. ANASTASIA RoBINSON was defcended from a good fa-
mily in the county of Leicefter; her father was brought up to the
profeffion of a portrait painter, and having, to perfect himfelf in
Vou. V. Mmm his
302 HISTORY OF THE SCIENCE BookIV.
his ftudies, travelled to Rome, he returned to England, and fet-
tling in London, married a woman of fome fortune, by whom he
had one only child, the fubje&t of the prefent article. In the in-
fancy of this his daughter, Mr. Robinfon had the misfortune to lofe
his wife. By a fecond marriage with a young gentlewoman of the
name of Lane, he had another daughter, who was baptized Margaret.
Mr. Robinfon had for fome time laboured under a diforder in his
eyes, which terminated in the lofs of his fight, and deprived him of
the means of fupporting himfelf and his family by the exercife of his
pencil. Under the heavy preflure of this calamity, he and: his
wife reflecting on their inability to make a provifion for them, re-
folved to bring up both the children to a profeflion : Anaftafia, the
elder, having difcovered in her childhood an ear for mufic, was de- -
figned by them for a finger; and other motives, equally cogent at
the time, determined them to make of Peggy a miniature painter:
The ftory of this younger daughter is but fhort, and is, againft the
order of precedence, here inferted, to prevent a digreffion in that
which is more to our purpofe, the hiftory of her fifter.
The fecond Mrs. Robinfon was poffefled of a fmall income, which,
under the direction of her hufband, was appropriated to the inftruétion
of the two children in the profeffions they were feverally intended for;
but all the endeavours of the parents in favour of the younger were in
vain; fhe flighted her ftudies, and, deviating into her fifter’s track,
would learn nothing but mufic: Yielding therefore to this {trong
propenfity, Mr. Robinfon placed her under Bononcini, and after-
wards fent her to Paris, where, being committed to the tuition of
Rameau, and having a moft delicate ear, and great powers of execu-
‘tion, fhe attained to fuch a degree of perfection in finging, as fether
upon a level with the moft celebrated performers of the time; but
having a natural bafhfulnefs, which fhe could never overcome, and
being befides lower in ftature than the loweft of her fex, the could
never be prevailed on to become a public finger, but {pent her life
in obf{curity. On the other hand, Anaftafia, who had been com-
mitted to the care of Dr. Croft, but was rather lefs indebted to na-
ture for the gift of a voice than her fitter, profecuted her ftudies with
the utmoft induftry. With the affiftance of her father the became
fuch a miftrefs of the Italian language, that fhe was able to converfe
in it, and to repeat with the utmoft propriety paflages from the poets.
To remedy fome defeats in her finging, to mend if poflible her thake,
which
OR OE ee ae ee
ee Ba i eS |
ee ee
Chap. 1. .AND PRACTICE OF MUSIC. 403
which was not altogether correct, and, above all, to make the Italian
modulation familiar to her, the affiftance of Sandoni, a celebrated
teacher *, was called in ; but all that could be done by him, and the
lady called the Baronefs, a finger in the opera, then greatly careffed,
in thefe refpects was but little ; fhe had a fine voice, and an extenfive
compafs, but fhe wanted a nice and difcriminating ear to make her
a perfect finger. Her firft public appearance was in the concerts
performed at that time in York-buildings, and at other places, in
which fhe fung, and generally accompanied herfelf on the harpfi-
chord. Her father had carefully attended to her education, and had
exerted his utmoft efforts in the improvement of her mind ; the ad-
vantages fhe derived from thefe inftances of his affe€tion, added to
her own good fenfe and amiable qualities, confifting in a ftritly vir-
tuous difpofition, a conduc full of refpect to her fuperiors, and
an undiffembled courtefy and affability to others, mixed with a chear-
fulnefs that diffufed itfelf to all around her, were vifible in the re-
ception fhe met with from the public, which was of fuch a kind, as
feemed to enfure her fuccefs in whatever fhe undertook. En-
couraged by the favour of the public to his daughter, and more
efpecially by the countenance and bounty of fome perfons of high
rank of her own fex, Mr. Robinfon took a houfe in Golden-fquare,
and had concerts, and alfo converfations on certain days in every
week, which were the refort of all who had any pretenfions to-
politenefs.
At the time when Mrs. Tofts and Margarita retired from the
ftage, {carce any female fingers worth hearing were left; Mrs.
Linfey, Mrs. Crofs, Signora Ifabella Girardeau, and the Baronefs
abovementioned, are the only names that we meet with, except the
two former, and Signora Maria Gallia, who-fung the part of Rofa-
mond in Mr. Addifon’s opera of that name, between the time of the
firft introdu@ion of the opera and the year 1718. Under thefe fa-
vourable circumftances, and the feveral others above enumerated, Mrs.
Robinfon was prevailed on to appear on the opera ftage: The firit
opera fhe fung in was that of Narciffus mentioned in a preceding page
to have been compofed by Domenico Scarlatti, and brought on the
ftage by Rofeingrave; in this fhe fung the part of Echo with great
applaufe. Inthe fucceeding operas of Mutius Scevola, Crifpus, Gri-
* Pier-Giufeppe Sandoni ; he publifhed, and dedicated to the countefs of Pembroke, a:
work of his entitled * Cantate da Camera e Sonate per il Cembalo.’
felda,,
margherita-durastanti, Margareth,
Eu acho que estou confundindo o Handel com outro músico..isso que dá não anotar. Tinha foto e tudo.
.
PKP ACHEI O NOME DELA NA OUTRA REENCARNAÇÃO. NÉ POSSÍVEL.
PROCUREM VOCÊS.
AKÁ, KÁ, KÁ , KÁ, KÁ,
novidade na outra reencarnação ela tinha o mesmo nome, puts. ká,rá,rá. Tu heim aí em cima me explica como é que você consegue fazer isso?
http://smc.centerblog.net/2035-margherita-durastanti
no site acima está errado o nome da pessoa é esta Portrait of Élisabeth Duparc († 1778) no retrato.
https://www.rijksmuseum.nl/nl/content-zoeken?q=Durastanti+
???
https://www.digitale-sammlungen.de/de/view/bsb10278493_00007_u001?page=28,29&q=durastanti
https://www.digitale-sammlungen.de/de/view/bsb00016911?q=durastanti&page=13,
https://www.digitale-sammlungen.de/de/view/bsb10223867?q=durastanti&page=281
https://www.digitale-sammlungen.de/de/view/bsb10527084?q=durastanti&page=270,271
https://www.digitale-sammlungen.de/de/view/bsb10527088?q=durastanti&page=276,
https://www.digitale-sammlungen.de/de/view/bsb11631377?q=durastanti&page=482,483
https://www.digitale-sammlungen.de/de/view/bsb11366380?q=durastanti&page=5
https://www.digitale-sammlungen.de/de/view/bsb10600125?q=durastanti&page=395,
oba um jornal de 1733
https://www.digitale-sammlungen.de/de/view/bsb10503682_00641_u001?q=durastanti&page=1
============================================
https://www.digitale-sammlungen.de/de/view/bsb10999245?q=durastanti&page=134,135
https://www.digitale-sammlungen.de/de/view/bsb10623247?q=durastanti&page=98,
https://www.digitale-sammlungen.de/de/view/bsb11384147?q=durastanti&page=278,279
==========================================
https://www.digitale-sammlungen.de/de/view/bsb10278493_00007_u001?page=28,29&q=durastanti
estão neste também
https://www.digitale-sammlungen.de/de/view/bsb11384147?q=durastanti&page=296
https://www.digitale-sammlungen.de/de/view/bsb10527077?q=durastanti&page=56,57
===================================================================
aqui um livreto drama para música
Gasparini, Francesco: Il Tartaro nella Cina
Durastanti
research IV: this part of my research takes us to Paris, for my heroine
sang the Senesino roles of Ottone and Giulio Cesare there (as
apparently neither Senesino nor Handel got the permission to go to
Paris).
It
was a private performance arranged by Durastanti's husband Avelloni, an
art dealer and collector, to take place at the home of renowned
colleague and art dealer Pierre Crozat.
There
a many open questions. Was it a semi staging? Probably yes. Who
directed the orchestra? Surely not Handel's rival Bononcini, but more
likely Sandoni. Was the libretto adapted? And if so who did this job?
The libretto must have been adapted, as Durastanti sang double roles,
that of Ottone and Gismonda, and then Giulio Cesare and Sesto or
Cornelia. Donald Burrows, Helen Coffey, John Greenacombe, Anthony Hicks:
George Frideric Handel, "Collected Documents", Cambridge, 2015, state
that she sang Cornelia besides Cesare (Anastasia Robinson had retired),
but it might be a mistake... it is feasible though that the role of
Sesto was deleted...so many questions and so few answers.
For now let's imagine Durastanti singing this aria as Giulio Cesare:
ia
As
óperas de George Frideric Handel (Haendel) na Inglaterra e na Itália
foram marcadas pela colaboração com grandes cantoras da época,
fundamentais para o sucesso de suas obras no barroco. Algumas das mais
notáveis incluem:
- Margherita Durastanti: Foi a primeira grande parceira artística de Handel. Ela estreou a maioria das cantatas de câmara em Roma, interpretou Maria Madalena na oratória A Ressurreição (1708) e protagonizou a ópera Agripina em Veneza.
- Francesca Cuzzoni e Faustina Bordoni: Ambas as famosas sopranos italianas atuaram juntas, pela primeira vez em uma ópera de Handel, em Alessandro (1726). A rivalidade entre elas era famosa e Handel equilibrava a escrita musical para valorizar igualmente ambas.
- Vittoria Tarquini: Outra cantora proeminente que colaborou com Handel.
- Vittoria Tesi e Anna Marchesini: Contraltos que, ao lado de castratis, desempenharam papéis importantes, muitas vezes assumindo papéis masculinos e femininos, evidenciando a versatilidade das vozes femininas profundas no início do século XVIII.
Essas cantoras, muitas vezes chamadas de primadonas, foram essenciais para o teatro lírico londrino sob a direção de Handel durante o período da Royal Academy of Music.
Este vídeo explica como Handel equilibrou a escrita musical entre Cuzzoni e Bordoni
https://www.blogger.com/u/2/blog/post/edit/2440002276847656293/4143652253283251862
Madeira. Viagem .
https://www.youtube.com/watch?v=c_13L097ks4&list=LL&index=17
Lindo os lugares da Madeira agora me vem no Akasha. Eu corria por estes lugares.
https://www.facebook.com/reel/1137442704653422
Professor José Hermano Saraíva (olha a mística do nome ) JHS.
Abençoado.
https://www.facebook.com/reel/1475085460795042
sábado, 9 de maio de 2026
ATTVILIUS ARIOSTI BONONIENSIS, em alemóm! aTTILIO aRIOSTI grafik
https://digital.onb.ac.at/rep/osd/?10E211FE
https://search.onb.ac.at/primo-explore/search?query=any,contains,aTTILIO%20aRIOSTI%20grafik&tab=default_tab&search_scope=ONB_gesamtbestand&vid=ONB&offset=0
==================================================================
AQUI A CULPA É DA IA
Attilio Ariosti (5 de novembro de 1666 – 1729) foi um prolífico compositor, organista e virtuoso da viola d'amore italiano do período barroco. Nascido em Bolonha, ele foi uma figura cosmopolita que atuou em diversas cortes europeias e produziu uma vasta obra.
Principais Aspectos da sua Vida e Obra:
Carreira Eclesiástica e Musical: Ariosti tornou-se frade servita em 1688, mas recebeu permissão para seguir carreira musical, ficando conhecido também como "Frate Ottavio".
Atuação na Europa: Trabalhou para o Duque de Mantua, na corte de Berlim (a convite de Sofia Carlota de Hanôver) e, posteriormente, em Viena e Londres.
Produção Musical: Compsosição de mais de 30 óperas e oratórios, além de numerosas cantatas e obras instrumentais, especialmente para a viola d'amore.
Rivais Barrocos: Atuou no mesmo período que grandes nomes como Giovanni Bononcini e George Frideric Handel.
Obras Notáveis: Suas produções incluem o oratório La passione (1693) e óperas como Caio Marzio Coriolano.
Saiba mais sobre a biografia do compositor no artigo da Wikipedia sobre Attilio Ariosti ou em inglês, e conheça sua análise como compositor de duetos vocais no repositório da Academia de Ciências da Hungria. Uma breve biografia também está disponível no site Opéra Baroque.
Attilio Ariosti – Wikipédia, a enciclopédia livre
Attilio Ariosti. compositor italiano. Idioma; A carregar... Descarregar PDF; Vigiar · Editar. Attilio Malachia Ariosti (Bolonha, 5...
Wikipedia
Attilio ARIOSTI - Opéra Baroque
Compositeur italien cosmopolite, moine et courtisan chargé de missions diplomatiques. Ariosti était un musicien que ses dons d'org...
operabaroque.fr
Attilio Ariosti | Amazon.com.br
Attilio Malachia Ariosti (5 November 1666 - 1729) was an Italian composer in the Baroque style, born in Bologna. He produced more ...
Amazon
Attilio Ariosti - Wikipédia - Wikipedia
Attilio Ariosti. Artigo · Falar. Linguagem; Carregando… Baixar PDF; Assistir · Editar. Attilio Malachia Ariosti (ou Frade Ottavio ...
Wikipedia
Attilio Ariosti as a Composer of Vocal Duets
This paper will focus on Attilio Ariosti as the seemingly most moderate party in the rivalry between the three composers to see if...
Repository of the Academy's Library
Caio Marzio Coriolano por Ensemble Odyssee
Ouça Caio Marzio Coriolano de Attilio Ariosti interpretada por Ensemble Odyssee, Andrea Friggi.
=============================================================
Hawkins, John: A General History Of The Science and Practice Of Music. 5
Standort
München, Bayerische Staatsbibliothek -- 4 Mus.th. 622-5
Urheber
Hawkins, John -- (GND: 118709291)
Titel
A General History Of The Science and Practice Of Music: In Five Volumes. 5
Von
By Sir John Hawkins
Entstehung
London : Payne
(1776)
https://www.digitale-sammlungen.de/de/view/bsb11384147?q=durastanti&page=296
https://archive.org/details/17778571998888bsb-11384147/page/297/mode/1up?q=Thomas
https://archive.org/stream/17778571998888bsb-11384147/17778571998888bsb11384147_djvu.txt
| se - ES =
(Se ee tt a a a eee de
"Vor. V. Tii
2900 HTS TORY SOR ARETE SGIENCE Book III.
ATTVILIUS ARIOSTI BONONIENSIS,
ATTILIo ARrosTI, an ecclefiaftic, and therefore ufually called in
England and elfewhere Padre Attilio *, wasa native of Bologna, and
chapel-mafter to the eleCtrefs of Brandenburg. Inthe year 1700, on
the anniverfary of the nuptials of Frederic, ‘hereditary prince of
Heffe Caffel, with the electoral princefs of Brandenburg, Louifa Do-
rothea Sophia, bee the firft aay of June, he performed at Lutzen-
* Ttis faid that he was a mDoninican friar, but that he hada difpenfation from the pope
that exempted him from the rule of his order, and left him at liberty to follow a fecnlar *
profeflion.
burg,.
- a i a ee A A : = a
SL ee Eee
Chap.g. AND PRACTICE OF MUSIC, ZO
burg, a villa of the princefs at a {mall diftance from Berlin, a ballet,
and on the fixth of the fame month, an opera, both of his compo-
fition, which were received with great applaufe. In the former he
affected to imitate the ftyle of Lully; butin the latter, following the
dictates of his own genius and invention, he exceeded the higheft ex-
pectations. The title of the opera was Atys, in which a fhepherd of
that name is reprefented in the extremity of rage and defpair, to
which paffions Attilio had adapted a compofition called Sinfonia
Infernale, the modulation whereof was fo fingular, and withal fo
mafterly, that the audience were alternately affected with terror
and pity, in an exact correfpondence with the fentiments of the poet
and the defign of the reprefentation. He alfo compofed a mufical
drama entitled ¢ Amor tra Nemici,’ which was performed on the
birth-day of the emperor Jofeph in that year. The words of this
drama were printed for the perufal of the audience during the time
of performance; and it is from the title-page of this publication only,
that the fact of his being an ecclefiaftic is afcertained ; for as to his
profeffion, it was altogether fecular, and he never pretended to the
exercife of any ecclefiaftical fun@ion. Attilio was a celebrated per-
former on the violoncello; but he was moft diltinguithed for his per-
formance on an inftrument, of whichif he was not the inventor, he
was the great improver, namely, the Viol d’Amore, for which he
made many compofitions. The refidence of Attilio at Berlin in the
year 1698, the time when Handel, then but a child, arrived at that
city, gave him an opportunity of knowing him, and laid the founda-
tion of a friendfhip, which, notwithftanding a competition of inte-
refts, fubfifted for many years after. The occafion of his leaving
Berlin was an invitation from the diretors of the opera here to come
and fettle at London; upon his arrival he joined with Bononcini: the
confequences of that aflociation are related in the account herein be.-
fore given of his colleague and his rival Handel, and leaves little to.
be faid of him farther than regards his works, and his general. cha-
racter as a mufician.
Of fundry operas compofed by Attilio, only Coriolanus and Lucius.
Verus are in print, though many of the airs in others of them are to.
be found in colleCtions publifhed by Walth. Of bis operas Coriola-
nus was beft received, and is the moft celebrated; the prifon fcene
in particular is wrought up to the higheft degree of perfedtion thas
mufie
292 HISTORY OF THE SCIENCE Book iif.
mufic is capable of, and is faid to have drawn tears from the au-
dience at every reprefentation : One of the Newgate fcenes in the
Beggar’s Opera is apparently a parody on it, and Mr. Gay feems to
intimate no lefs in his preface.
The fuccefs of Mr. Handel in the compofition of operas, and the
applaufe with which his produCtions were received, not only fi-
Jenced all competition againft him, but drove his opponents to the
neceflity of relinquifhing their claim to the public favour. Bononcini,
upon his ceafing to compofe for the opera, found a comfortable retreat,
and a fovereign remedy for the pangs of difappointed ambition, in
the Marlborough family ; the lot of Attilio was lefs happy, and we
know of no patronage extended to him. Preffed by the neceffity
which followed from his want of encouragement, he not fo properly
folicited as begged, a fubfcription from the nobility and gentry to a
book of Cantatas, in which he purpofed to difplay the utmoft of his
abilities. Before this time Bononcini had made the like attempt in
a propofal to publifh his Duettos and Cantatas; the fub{cription to the
work was two guineas; and he fucceeded fo well, that the profits of the
publication were eftimated at near a thoufand guineas. Attilio, in
the hope of like fuccefs, applied himfelf to fuch as he thought his
friends, and, as well where he failed of a promife, as where he ob-
tained one, he inrolled the name of the perfon applied to, in his lift
of fubfcribers, and his book was publifhed with the ftrange title of
* Alla Maefta di Giorgio Ré della Gran Britagna, &c. &c. &c.’ and
only the initials of his name to the dedication. The work confifts of
fix Cantatas, the words whereof are conjectured to have been written
by Paolo Rolli; and a colleétion of leffons for the Viol d’Amore..
The compofitions of both kinds contained in it abound with evi-
dences of a fertile invention, and great fkill in the art of modula-
tion and the principles of harmony ; and, upon the whole, may be
faid to have merited a better reception than the public vouchfafed to
givethem. Afterthe publication of this book Attilio took leave of
England.
CHAP.
a
{
Chap.10. AND PRACTICE OF MUSIC. 293
Cet eaAc ep, xX.
HE account which it is propofed to give of the opera, and of
thofe contentions among the fingers, that, in the fubfequent
hiftory of it will be found to have greatly embarraffed the directors,
and divided the fupporters of it into parties, will convince every one
who reads it, that the profeffion of an opera finger was become of
great importance; and that the careffes of princes and other great per-
fonages, who were flaves to their pleafures, had contributed to make
them infolent ; and this confideration makes it neceflary to recur fome
years backwards, and take a view of the profeflion in its infancy,
and to affign the caufes that contributed to aggrandize it.
The profeffion of a public finger was not unknown to the ancient
Romans ; but among that people thofe that followed it were in ge-
neral the flaves or domeftic fervants of the Patricians. In after-times
it was followed for a livelihood by perfons of both fexes, and with
the greateft emolument by males, who in their infancy had under-
gone an operation, which feldom fails to improve the vocal organs :
Of the general chara€ter and behaviour of this latter clafs of fingers,
we have no clear intimation till about the year 1647, when Dont
publithed his treatife De Preftantia Mufice veteris, in which he gives
many inftances of their arrogant and licentious behaviour to their
fuperiors, and their general difpofition to luxury and extravagance.
Of the women the above writer fays little but what is to their ho-
nour; two the moft celebrated female fingers of his time, Hadriana
Baroni, and Leonora her daughter, he reprefents as virtuous and mo-
deft women, thy
The fame author informs us, that in his time fingers with remark-
able fine voices were hired at great rates to fing at the public theatres ;
but fo fervile in his eftimation does the profeflion feem to appear, that
he has forborne, except in the inftances above mentioned, to diftin-
guifh even the moft celebrated of them by their names. In propor-
tion as theatric mufic improved, thefe people became more and more
confpicuous ; but not till the clofe of the laft century were any of
the fingers in the Italian opera know by their names; the firft that
<an be readily recalled to memory is Sifacio, who, after having fung
V OIGsV. Kkk abroad
294 HISTORY OF THE SCIENCE BookTIE.
abroad for many years with great applaufe, came into England, and
was a finger in the chapel of James II. foon after whom appeared
Francefco Antonio Piftocchi, who, to borrow a term from the pain-
ters, was the founder of a fchool, which has produced fome of the
moft celebrated fingers in thefe latter ages. The {chool of Piftocchi
is called the School of Bologna; but it feems that there was alfo one
nore ancient, called the School of Tufcany; and to this feminary
Milton feems to allude in the following lines, part of a fonnet in-
fcribed to Mr, Lawrence :
What neat repaft fhall feaft us, light and choice,
Of Attic tafte, with wine ; whence we may rife
To hear the lute well toucht, or artful voice
Warble immortal notes and Tufcan air ?
Mr. Martinelli, in two letters by him written to an Englith
nobleman, on the origin of the Italian opera*, would infinuate
that the flyle of the Tufcan fchool, even down to the beginning
of the prefent century, retained much of that natural fimplicity and
aufterity which charaQerized the fongs of the church; and that
Sifacio-+-, and La Tilla, both natives of Tufcany, and of this an-
cient {chool, determined the epocha of this grave and fimple mufic ;
and farther that Piftocchi corrupted it. His character of this perfon is,
* that he fung at firft upon the theatre, but being obliged, becaufe
‘ of his difagreeable voice and ungraceful figure, to quit the ftage,
* he turned prieft, and undertook to teach an art which he was judg-
* ed unable to practice with fuccefs.’
To this opinion of Mr. Martinelli, fo far as it refpeas Piftocchi,
we have to oppofe that of a much better judge, namely, Mr, Galliard,
who gives the following account of him, viz. ¢ That he refined the
« manner of finging in Italy, which was then a little crude ;. and that
« his merit in this is acknowledged by all his countrymen, and con-
« tradicted by none: That when he firft appeared to the world, and
© a youth, he had a very fine treble voice, but by a diffolute life loft
‘ it: That after fome years he recovered a little glimpfe of voice,
¢ which by time and practice turned into a fine contralto; that he
* Lettere Familiari e Critiche di Vincenzio Martinelli. Londra, 1758.
+ This was a name of diftintion given to him on his performing the charaQter of Sy-
phax in ap opeia, and in confequence thereof his truc name was forgotten.
© tools
Chap.10. AND PRACTICE OF MUSIC. 295
* took care of it, and, travelling all Europe over, where hearing dif-
‘ ferent manners and taftes, he appropriated them to himéelf,
¢ and formed that agreeable mixture which he produced in Italy,
« where he was imitated and admired.’ Mr. Galliard concludes this
charaéter of Piftocchi with the mention of a remark, which he feems
to acqniefce in, viz. that though feveral of his difciples fhewed the im-
provement they had from him, yet others made an ill ufe of it, hav-
ing not a little contributed to the introduction of the modern tafte-
-To proceed with the fchool of Bologna. Mr. Martinelli adds, the
mott celebrated {cholars of Piftocchi were Bernacchi * and Pafi, both
of Bologna, and his countrymen ; the former he fays has acquired
the applanfe of a few enthufiafts, who are fond of difficulties, by his
fill and ingenuity in running over the moft hard paflages of mufic
in the fhort {pace of an Arietta; but that he was never fo fuccefsful
as to pleafe the generality, becaufe he often neglected the fentiment
which he had to exprefs, in order to give a Joofe to his fancy ; be-
fides, he adds, his voice was little pleafing, and his figure wanted
confequence. On the contrary, he fays, that Pafi retained none of
the leffons of*his mafter, but what were neceflary in order to fet off a
voice, which, though weak, was exceedingly agreeable; a circum-
ftance, that, joined to an advantageous figure, procured him ina fhort
time the reputation of the moft perfect finger that had appeared upon:
the ftage. The fame author mentions Porpora as the inftru€tor of Fa-
rinelliand other celebrated fingers, and who, as he taught his pupils a
manner of finging till then unknown, is, as well as Bernacchi, con-
fidered as the founder of a {chool which will be mentioned in a fu-
ture page +.
While the propofal for an academy was under confideration, and:
to accelerate the carrying of it into execution, Mr. Handel fet him-
{elf to compofe the opera of Radamiftus, and caufed it to be repre-
fented at the Haymarket theatre in the winter of the year 1720:
The applaufe with which it was received cannot be better related
than in the words of the anonymous author of Memoirs of the Life
* Antonio Bernacchi: One of that name fung at London in the opera of Lotharius,
reprefented in the year 172g, but with little applaufe, though he was allowed to bea
great matter. ;
+ The cant of all profeilions is difgufting, and that of the mufical connoiffeurs moft fo,
as it is ever dictated by ignorance and affe€tation. Neverthelefs as the term fchool, as
applied to mufical performance, may be thought technical, we choofe rather to adopt it
than exprefs it by a periphrafis,
of;
ao So
206 HISTORY OF THE SCIENCE BookidIl.
of Mr. Handel, publifhed in the year 1760, which are as folloxw:: Fle
* perfons who are now living, and who were prefent at that per-
* formance, may be credited, the applaufe it received was almoft as
* extravagant as his Agrippina had excited ; the crouds and tumults
‘ of the houfe at Venice were hardly equal to thofeat London. In
* fo fplendid and fafhionable an afflembly of ladies, to the excellence
‘ of their tafte we muft impute it, there was no fhadow of form or
‘ ceremony, ‘fcarce indeed any appearance of order or regularity, po-
‘ litenefs or decency: Many, who had forced their way into the
houfe with an impetuofity but ill fuited to their rank and fex, ac-
« tually fainted through the exceflive heat and clofenefs of it; feveral
gentlemen were turned back who had offered forty fhillings for a
featin the gallery, after having defpaired of getting any in the pit
*-or boxes.’
The performance of the opera of Radamiftus had imprefled upon
the friends of Handel, and indeed upon the public in general, a deep
fenfe of his abilities. It received great advantages from the per-
formance ; for Senefino fung in it that admirable air, ‘ Ombra Cara,’
and Duraftanti others; but, to remove all fufpicion that the ap-
plaufe of the public was paid to the reprefentation, and not to the in-
trinfic merit of the work, Handel publifhed it himfelf, having pre-
vioufly obtained a licence under the fign manual, dated 14 June,
1720, for fecuring to him the property in that, and fuch other of his
works as he fhould afterwards publith *.
Whoever perufes the opera of Radamiftus, will find abundant rea-
fon to acquiefce in the high opinion that was entertained of it. The
airs in it are all excellent, but thofe of chief note are, * Deh fuggi un
‘-traditore,’ * Son contenta di moire,’ * Doppo torbide procelle,’
* Ombra Cara,’ ¢ Spero placare,’ * La forte il ciel amor,’ and ¢ Vanne
* forella ingrata +.’ The performance and the publication jointly
operated in bringing the interefts of the three rivals to a crifis: Nei-
hal
a
* It was in the title-page faid-to be publifhed by the author, and printed and fold by
Richard Meares, mufical inftrument maker, and mufic printer in St. Paul’s church-yard,
and by Chriftopher Smith, at the Hand and Mufic-book in Coventry ftreet, near the
Haymarket, and no where elfe in England.
+ There is in this opera a fhort air, ‘ Cara Spofa,’ in the key of A, with the greater
third, which is to bediflinguifhed from one with the fame beginning in the opera of Ri-
naldo in E, with the lefler third, which is a ftudied compofition, for this reafon that Mr,
Handel looked upon the two airs, ¢ Cara Spofa,’ and ‘ Ombra Cara,’ as the two finelt he
ever made, and declared this his opinion to the author of this work. :
ther
Chap.10. AND PRACTICE OF MUSIC. 297
ther was difpofed to yield, and the friends of each concurred in a
propofal that Handel, Bononcini, and Attilio fhould in conjunétion
compofe an opera, that is to fay, each of them an att, asalfo an over~
ture: The opera was Mutius Scevola; Bononcini fet the firft ad,
Attilio the fecond, and Handel the third, the fongs and the overture
in the firft and third are in print, and we are enabled to make a com-
parifon between Handel and Bononcini, but of Attilio’s part of the
work we can fay nothing.
The iffue of this conteft determined the point of precedence be-
tween Handel and his competitors: His a& in Mutius Scevola was
pronounced fuperior to the others, and Bononcini’s next in merit.
This victory however was not productive of thofe confequences that
fome might hope for; it did not reduce the adverfaries of Handel to
the neceffity of a precipitate retreat, nor even leave the conqueror in
poffeffion of the field of battle, for both Bononcini and Attilio con-
tinued to compofe for the opera after the difpute ; and indeed the
fineft compofitions of each, as namely, Aftartus, Crifpus, Grifelda,
Pharnaces, Calphurnia, Erminia, Aftyanax, by the former; and
Coriolanus, Vefpafian, Artaxerxes, Darius, and Lucius Verus, by
the latter, were compofed and performed with the applaufe feverally
due to them, between the years 1721 and 1727 *.
Of the fingers in the Royal Academy two only have as yet been
particularly mentioned, that is to fay, Senefino and Duraftanti ; and
thefe had the greateft fhare in the performance: There were others
however of fuch diftinguifhed merit, as to deferve to be noticed, as
namely, Signor Gaetano Berenftadt, whom Mr. Handel had brought
from Drefden with the two former, and Bofchi, for whom were com-
pofed thofe two celebrated bafs fongs, ¢ Del minacciar del vento,’ in
Otho, and * Deh Cupido,’ in Rodelinda; and when thefe went off,
their places were fupplied by Pacini, Borofini, Baldi, Antenori, Pal-
mieri, and others. Of female fingers there were alfo fome whofe
merits were too confiderable to be forgotten: there were two of the
fame name, viz. Robinfon, though no way related to each other ;
one of them, Mrs. Anaftafia Robinfon, afterwards countefs of Peter-
borough, will be fpoken of hereafter ; the other was the daughter of
Dr, William Turner, and the wife of Mr. John Robinfon, organift
* Elpidia and Elifa were performed in the year 1725, but by whom they were com-
pofed is not known.
VoL. V. Teel of
298 HISTORY OF THE SCIENCE Book III.
of Weftminfler-abbey, already mentioned; for which reafon, and
to diftinguith her from the former, fhe was called Mrs. Turner Ro-
binfon *. Soon after the eftablifhment of the Royal Academy Mr.
Handel had engaged Signora Cuzzoni, who fung with unrivalled ap-
plaufe till the year 1726, when Signora Fauftina came hither, and
became a competitor with her for the public favour, and fucceeded
fo well in her endeavours to obtain it, as to divide the mufical world
into two parties, not lefs violent in their enmity to.each other than
any that we read of in hiftory.
An account of the difpute between thefe two famous fingers, equal-
ly excellent, but in different ways, will be referved for a future page:
In the interim it is to be remarked, that the eftablifhment of the
opera gave a new turn to the fentiments and manners of the young
nobility and gentry of this kingdom: Moft of thefe were great fre-
quenters of the opera; they profeffed to admire the mufic, and next
to that the language in which they were written ; many of them be-
came the fcholars of the inftrumental performers, and by them were
taught the practice of the violin, the violoncello, and the harpfichord.
Others, who were ambitious of being able to converfe with the
fingers, efpecially with the females ; to utter with a grace the excla-
mations ufed to teftify applaufe, and to be expert in ‘the ufe of all
the cant phrafes which mufical connoiffeurs affect, fet themfelves to
Jearn the Italian language ; and in proportion to their progref$ in it
were more or lefs bufy behind the {cenes, and in other refpedts trou-
blefome and impertinent.
Who was the firft writer in England of Italian operas is now only
known in the inftance of Etearcus, written by Haym, and reprefent-
edin 1711; unlefs it can be fuppofed that Roffi, the author of Ri-
naldo, had been fufficiently encouraged to a fecond attempt of that
kind ; however, at the time of the eftablifhment of the Academy
the directors took care to engage in their fervice one whofe abilities
as a poet were never queftioned, namely, Paolo Antonio Rolli. This
perfon was a Florentine by birth, and, notwithftanding his preten-
fions to an honourable defcent, was, as it is afferted by a gentle-
man who knew him in England, originally of a very mean occupa-
tion, that is to fay, a maker of vermicelli; in plain Englifh a paftry-
* She is fo called in the opera of Narciflus, compofed by Domenico, the fon of Aleflan-
dro Scarlatti, with additional fongs by Refeingrave, and performed at the theatre in the
Naymarket in 1720, .
cook >
a on
Chap. 10. AND PRACTICE OF MUSIC. 299,
cook ; but having a talent fer poetry, he cultivated it with great affi-
duity; and in fome little fongs, cantatas, and occafional poems, by him
publifhed from time to time, gave proofs of his genius. He came into
England about the year 1718, and wrote for the managers the opera of
Narciffus; Rolli wrote alfo Mutius Scevola, Numitor, Floridante,
Aftartus, Grifelda, and Crifpus*, and, in fhort, moft of the operas ex-
hibited under the direction of the Royal Academy: Elpidia, reprefent-
edin 1725, was written by Apoftolo Zeno. Findingin the Englith that
frequented the opera a propenfity to the ftudy of the Italian language,
Rolli became a teacher of it to thofe who were able to make him fuch
gratifications, as men poffeffed with a high fenfe of their own merits
are wont to require. - Being a man of afliduity, he applied himfelf to
the publication of valuable books written in his own language, as.
namely, the Decameron of Boccace, the Satires of Ariofto, the Opere:
burlefche of Francefco Berni, Giovanni della Cafco, and other Italian
poets, and the tranflation of Lucretius by Aleflandro Marchetti. For
the improvement of his {cholars he alfo tranflated into Italian two of
Sir Richard Steele’s comedies, viz. the Confcious Lovers and the Fune-
ral, and alfo the Paradife Loft of Milton; upon which it is to be re-
marked, that, being of the Romifh communion, he has left out the
Limbo of Vanity, and that fome of the copies were printed on blue:
paper. In the year 1744 he quitted England, and retired, as it is faid,.
to the enjoyment of a patrimonial eftate in the Campania of Rome,,
afluming the title of a Roman fenator. :
Befides the fingers, the inftrumental performers in the opera de--
ferve fome notice ; Corbett played the firft violin at the time when
they were firft introduced : To him fucceeded Claudio, an Italian, a.
found and jadicious performer ; but when the entertainment was put
upon a new and better footing, Carbonelli was placed at the head of
the orcheftra. He continued in that ftation about feven years, and:
was fucceeded by Pietro Caftrucci. Mr. Galliard played the firtt
hautboy, and Kenny, mentioned before in the life of Purcell. by. the
miftaken name of Kennedy, the baffoon..
* The fubje& of the opera of Grifelda is the well-known flory of the marquifs of Sa-.
Juzzo and Grifelda, related by Boccace, and is the Clerk of Oxford’s tale in Chaucer.
See vol. II. page 2g, It is known to the vulgar by an old ballad entitled Patient Grifel,,
beginning ¢ A noble marquis ashe did ride ahunting.’ It feems that at the time of per-
forming the operas of Grifelda and Crifpus, theic comparative merits were the fubject of
2. difpute that divided the ladies into parties, one whereof preferred the former, the other,
the latter. ‘Uhis difference of opinion is take notice of by Sir Richard Stoele in his ca-
medy of the Confcious Lovers, ACLIL
Francesco Geminiani,
https://www.rijksmuseum.nl/nl/content-zoeken?q=fRANCESCO+GEMINiani
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https://archive.org/details/17778571998888bsb-11384147/page/238/mode/1up?q=Thomas
Hawkins, John: A General History Of The Science and Practice Of Music. 5
Standort
München, Bayerische Staatsbibliothek -- 4 Mus.th. 622-5
Urheber
Hawkins, John -- (GND: 118709291)
Titel
A General History Of The Science and Practice Of Music: In Five Volumes. 5
Von
By Sir John Hawkins
Entstehung
London : Payne
(1776)
===================================
https://archive.org/stream/17778571998888bsb-11384147/17778571998888bsb11384147_djvu.txt
FRANCESCO GEMINIANI.
“BN pANCESCO GEMINIANI, a native of Lucca, was born about the
F year 1680. He received his firft inftru€tions in mufic from Alef-
fandro Scarlatti, and after that became a pupil of Carlo Ambrofio Lu-
-nati, furnamed Il Gobbo *, a moft celebrated performer on the-vio-
*# Vide ante, page 131-
lin.
a
Chap. 4. AND PRACTICE OF MUSIC. 239%
lin ; after which he became a difciple of Corelli, and under him fi-
nifhed his ftudies on that inftrument.
In the year 1714 he came to England, where in a thort time he:
fo recommended himfelf by his exquifite performance, that all who:
profefled to underfland or love mufic, were captivated at the hearing-
him; and among the nobility were many who feverally laid claim to
the honour of being his patrons; but the perfon to whom he feemed:
the moft clofely to attach himfelf was the Baron Kilmanfegge, cham-
berlain to king George I. as elector of Hanover, and a favourite of
that prince. In the year 1716 he publifhed and dedicated to that no~-
bleman twelve Sonatas, a Violino Violonee Cembalo: The firft fix:
with fugues and double ftops, as they are vulgarly called; the laft
with airs. of various meafures, fuch as Allemandes, Courants, and:
Jigs.
"The publication of this work had fuch an effect, that men were ata.
lofs to determine which was the greateft excellence of Geminiani,,
his performance or his fkill- and fine ftyle in compofition ; and, with:
a due attention.to his intereft, there is no faying to what degree he-
might have availed himfelf of that favour, which his merits had:
found in this country: This at leaft is certain, that the publication:
of his book impreffed-his patron with fuch a fenfe of his abilities, as.
moved hini.to endeavour to procure for him a more beneficial patron-.
age than his own; to this end he mentioned Geminiani to the king
as an exquifite performer, and the author of a work, which at the-
fame time he produced and the king had no fooner looked over,,
than he expreffed a defire to hear fome of the compofitions contained.
in it performed by the author. The Baron immediately communi--
cated the king’s pleafure to Geminiani, who, though he was gladly:
difpofed to obey fuch a command, intimated tothe Baron a with that.
he might be accompanied on the harpfichord by Mr. Handel, which-
being fignified to-the king, both mafters had notice to attend at St..
James’s, and Geminiani acquitted himfelf in a manner worthy of the:
expeCtations that had been formed of him.
It is much to be doubted whether the talents of Geminiani were of
fuch a kind, as qualified him to give a direfion to the national tafte ;,
his compofitions, elegant and ornate as they were, carried in them
no evidences of that extenfive genius which is required in dramatic:
mufic ; nor. did he make the leaft effort to fhew that he was pof-
feffeds
240 HISTORY OF THE SCIENCE Book II:
feffed of the talent of affociating mufic with poetry, or of adapting
correfponding founds to fentiments: The confequence hereof was,
that he was neceflitated to rely on the patronage of his friends among
the nobility, and to depend for fubfiftence upon prefents, and the
profits which accrued to him by teaching, upon terms which him-
felf was permitted to make.
A fituation like this muft appear little better than humiliating, to:
one that confiders the eafe and affluence, and, comparatively f{peak-
ing, independent fituation of Corelli, who through his whole life
feems to have enjoyed the bleffings of eafe, affluence, and fame.
Corelli for fome years led the orcheftra in the opera at Rome ; we
find not that Geminiani occupied a fimilarfituation at London, nor
that he was at any time of his life a public performer: It may there-
fore be a wonder what were his means of fubfiftence during his long
ftay in this country. All that can be faid to this purpofe is, that he
had very many bountiful patrons and pupils, as many in number as
he could poffibly attend.
The relation between the arts of mufic and painting is fo near, that
in numberlefs inftances, thofe who have excelled in one have been
admirers of theother. Geminiani was an enthufiaft in painting, and
the ver{atility of his temper was fuch, that, to gratify this paflion, he
not only fafpended his ftudies, and negleéted the exercife of his ta-
lents, but involved himfelf in ftraits and difficulties, which a fmall
degree of prudence would have taught him to avoid. To gratify his
tafte, he bought piGtures; and, to fupply his wants, he fold them ;
the neceflary confequence of this kind of traffic was lofs, and its
concomitant, neceflity.
In the diftrefs, which by this imprudent conduét he had brought
on himfelf, Geminiani was neceflitated, for the fecurity of his per-
fon, to avail himfelf of that protection which the nobility of this
country have power to extend in favour of their fervants. The late
earl of Effex was a lover of mufic, and had been taught the violin by
Geminiani, who at times had been refident in his lordfhip’s family ;
upon this ground the earl was prevailed on to inroll the name of Ge-
miniant in the lift of thofe fervants of his whom he meant to fcreen
from the procefs of the law.
The notification of the fecurity which Geminiani had thus obtained
was not fo general as to anfwer the defign of it. A creditor fora
{mall fum of money arrefted him, and threw him into the prifon of
the
Chap.4. AND PRACTICE OF MUSIC. 241
the Marfhalfea, from whence, upon an application to his protector
he was however ina very fhort time dilcharged *.
A feries of condua fuch as that of Geminiani was, the neglecting
the improvement i thofe advantages which would have refulted
from his great abilities in his profeffion; his contraéting of debts,
and negleét in payment of them, feem to indicate as ‘well a want of
principle as difcretion : neverthelefs that he was in an eminent de-
gree poffefled of the former, will appear from the following anecdote.
The place of mafter and compofer of the ftate mufic in Ireland had
been occupied for feveral years by John Sigifmund Couffer, a Ger-
man mufician of great eminence, who will be fpoken of hereafter.
This perfon died in the year 1727; and notice of his deceafe coming
to the earl of Effex, he, by means of lord Percival, obtained of the
minifter, Sir Robert Walpole, a promife of the place; which he
had no fooner got, than lord Effex immediately fent for Geminiani,
and told him that his difficulties were now at an end, for that he had
provided for him an honourable employment, fuited to his profeffion
and abilities, and which would afford him an ample provifion for
life; but upon enquiry into the conditions of the office, Geminiani
found that it was not tenable by one of the Romifh communion, he
therefore declined accepting of it, afligning as a reafon that he was
a member of the catholic church; and that though he had never
made great pretenfions to religion, the thought of renouncing that
faith in which he had been baptized, for the fake of worldly advan-
tage, was what he could in no way anfwer to his confcience. Upon
this refufal on the part of Geminiani, the place was beftowed on Mr.
Matthew Dubourg, a young man who had.been one of his pupils,
and was a celebrated performer on the violin.
Some years had now elapfed fince the publication of his Solos, and
as well with a view to advantage, as in compliance with his inclina-
tions, he fet himfelf to compofe parts to the firft part of the Opera
quinta of Corelli, or, in other words, to make Concertos of the firft fix
of his Solos... This work he completed, and, with the help of a fub=
* Immediately upon his confinement he fent, by one Foreft, an attorney, a letter to a
gentleman in lord Effex’s family, who, upon fhewing it to his lordfhip, was directed to
go tothe prifon and claim Geminiani as the fervant of the earl of Effex, which he did, and
the prifoner was accordingly difcharged. ‘This fact, together with many others above-
mentioned, way communicated by the perfon to whom the letter was fent.
Vou. V. Aaa. {cription,
242 HISTORY OF THE SCIENCE BookIilf.
fcription, at the head of which were the names of the royal family,
he publifhed:it in the year 1726. A fhort time after; he made the re-
maining fix of Corelli’s Solos alfo into Concertos; but thefe having
na fugues, and confifting altogether of airs, afforded him but little
{cope for the exercife of his fkill, and met with but an indifferent
reception.
He alfo made Concertos of fix of Corelli’s Sonatas, that is to fay,
the ninth in the firft opera, and the firfty third, fourth, ninth, and
tenth of the third. This feems to have been a hafty publica-
tion, and is hardly now remembered. In the year 1732 he pub-
lifhed what he ftyled his Opera feeonda, that is to fay, VI. Concerti
grofli con due Violini, Violoncello, e Viola di Concertino Obligati,
e due altri Violini, e baflo di Concerto groffo ad arbitrio, with a
dedication to Henrietta, duchefs of Marlborough. The firft of thefe
compolitions is celebrated for the fine minuvet with which it clofes ;
the firft idea of the Concerto was the following Solo, which the
author had compofed many years-before, and has never yet appeared.
in print. .
Chap.4. AND PRACTICE OF MUSIC. 243
Antonio Vivaldi gallica Vivaldi prints
https://gallica.bnf.fr/ark:/12148/btv1b8425633m/f1.item#
Titre : Ant. Vivaldi / gravé par Lambert jne. d'après le dessin original appartenant à Mr Fayolle
Auteur : Lambert jeune (17..-18.. ; graveur). Graveur
Date d'édition : 1730-1800
Sujet : Vivaldi, Antonio (1678-1741) -- Portraits
Sujet : Portraits
Notice du catalogue : http://catalogue.bnf.fr/ark:/12148/cb396265257
Type : image fixe
Type : estampe
Format : 1 estampe ; 20 x 12,5 cm (élt d'impr.)
Format : image/jpeg
Format : Nombre total de vues : 1
Description : Appartient à l’ensemble documentaire : IconMUS1
Description : Appartient à l’ensemble documentaire : IconMUSNum
Description : Appartient à l’ensemble documentaire : IconMUS0
Droits : Consultable en ligne
Identifiant : ark:/12148/btv1b8425633m
Source : Bibliothèque nationale de France, département Musique, Est. Vivaldi A. 003
Conservation numérique : Bibliothèque nationale de France
Date de mise en ligne : 16/08/2010
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Nada,
https://www.facebook.com/reel/960557613141622
primeiro fatos mestre absoluto das tuas paixões, dos teus vícios, das tuas virtudes; deves ser o dominador do teu corpo e dos teus pensamentos, depois
Essa é uma citação poderosa, frequentemente atribuída a líderes, pensadores estoicos ou figuras como Napoleão Bonaparte, que enfatiza a autorresponsabilidade e o autodomínio como base para qualquer sucesso ou liderança externa [1, 2].
A frase destaca uma hierarquia clara para o desenvolvimento pessoal:
- "Fatos mestre absoluto das tuas paixões, dos teus vícios, das tuas virtudes": Antes de tentar mudar o mundo, liderar outros ou buscar sucesso, você deve conhecer e controlar suas próprias emoções intensas (paixões), seus hábitos destrutivos (vícios) e cultivar suas qualidades (virtudes) [1].
- "Deves ser o dominador do teu corpo e dos teus pensamentos": Isso reforça a disciplina mental e física. É o controle sobre a mente (pensamentos) e a saúde/ações (corpo) [1, 2].
- "Depois...": A implicação é que, só após conquistar o domínio próprio, você estará pronto para dominar situações externas, liderar pessoas ou alcançar seus maiores objetivos.
Em resumo: A verdadeira maestria começa de dentro para fora. O autodomínio é a premissa para a influência e o sucesso [2].
- [1] Pesquisa sobre frases de autodomínio e liderança pessoal.
- [2] Análise de princípios estoicos e filosofia de liderança
A "Carta sobre o fogo filosófico" (Lettera sul «fuoco filosofico») é uma obra do humanista italiano do Renascimento, Giovanni Pontano (1426–1503), disponível em edições como a da editora La Vita Felice.
Pontano
foi uma figura central no humanismo napolitano e escreveu
extensivamente sobre temas que misturam filosofia, amor e a natureza.
Pontos sobre o "Fogo Filosófico" e Pontano:
- Temática: A obra aborda o conceito de "fogo" em um contexto filosófico e, muitas vezes, metafórico ou alquímico, comum no pensamento neoplatônico da época.
- Estilo: Pontano é conhecido por seu latim elegante e pela capacidade de misturar o rigor acadêmico com a poesia.
- Contexto: O "fogo" na tradição platônica e hermética, que influenciou o Renascimento, frequentemente representa a alma, a paixão divina ou o agente transformador na transmutação (tanto física quanto espiritual).
A
obra explora a relação entre o amor, a natureza e o ardor interior, às
vezes descrito como um "fogo" que consome e transforma, conforme
sugerido em análises da poesia neolatina de autores do período.
WIllem I de Veroveraar
vai aqui você não depende de ninguém você faz o que quer para estudar.
Tens que pedir xongas pra quem seja.
E além.
Não gostou faça o seu.
Aprendi com um Sr. que me contatou e disse:
se repasso é uma concessão.
Não quer faça o seu.
todas as bibliotecas para pesquisa
NA REALIDADE ESTÃO TODAS AQUI MAS PARA BUSCA ABAIXO (2018)
https://de-wikisource-org.translate.goog/wiki/Digitale_Sammlungen?_x_tr_sl=de&_x_tr_tl=pt&_x_tr_hl=pt-BR&_x_tr_pto=sc
abra uma página e abra 50 páginas a seguir com as buscar e vá buscando.
obrigada a ia (apesar de mandar ela a merda todo santo dia). Por abrir agora em várias abas na mesma tela,
assim facilita)
Portret van WIllem I de Veroveraar
François Morellon La Cave (vermeld op object), 1706 - 1768
Portret van WIllem I de Veroveraar met een helm op zijn hoofd. Rechtsboven: Tom. Seg. p. 1.
https://www.rijksmuseum.nl/nl/collectie/object/Portret-van-WIllem-I-de-Veroveraar--d54591312e84aba6a648cfe0a6f225c0
ia
Willem I de Veroveraar (ca. 1028-1087) was hertog van Normandië (vanaf 1035) en de eerste Normandische koning van Engeland (vanaf 1066). Als buitenechtelijke zoon van Robert de Duivel, oorspronkelijk bekend als "Willem de Bastaard", veranderde hij de Europese geschiedenis door de verovering van Engeland en de overwinning in de Slag bij Hastings in 1066.
Belangrijkste feiten over Willem de Veroveraar:
Achtergrond: Geboren in Falaise, Normandië, als zoon van Robert de Duivel. Ondanks zijn status als bastaard werd hij op 7-jarige leeftijd hertog van Normandië.
Verovering van Engeland: In 1066 viel hij Engeland binnen om zijn aanspraak op de troon te gelden. Na zijn overwinning op Harold II bij de Slag bij Hastings op 14 oktober 1066, werd hij op Eerste Kerstdag tot koning gekroond.
Bewind: Hij consolideerde zijn macht door het bouwen van kastelen, waaronder de Tower of London, en het laten opstellen van het Domesday Book, een grootschalige inventarisatie van Engeland.
Persoonlijk leven: Hij was getrouwd met Mathilde van Vlaanderen, met wie hij een hechte relatie had.
Overlijden: Hij stierf op 9 september 1087 na een verwonding tijdens een veldtocht in Frankrijk.
Willems erfenis bracht een diepgaande verandering teweeg in de Engelse taal, cultuur en feodale structuur, waarbij Normandische invloeden werden vermengd met de Angelsaksische tradities.
Willem I van Engeland - Wikipedia
Willem I van Engeland. Koning van Engeland, Hertog van Normandië (c. 1028-1087). Taal; Laai tans… Download PDF; Hou dop · Wysig. W...
Wikipedia
Willem de Veroveraar - Wikipedia
Willem I (Falaise, ca. 1028 — Rouen, 9 september 1087), ook bekend als Willem de Veroveraar (William the Conqueror), was de eerste...
Wikipedia
Wie was Willem de Veroveraar? | Liberté Vakantiehuizen
Wie was Willem de Veroveraar? Willem de Veroveraar werd in 1028 geboren in het Normandische Falaise. Willem de Veroveraar is slech...
Liberté vakantiehuizen
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A IA pode cometer erros. Por isso, cheque as respostas
O termo "Effigies" é comumente usado em títulos de retratos gravados no século XVIII, significando "retrato" ou "efígie" em latim. Antonio Vivaldi
https://onb.digital/result/10D5A746
===============================
Onde está a imagem? abaixo
Aqui neste livro = Domínio Público:
https://search.onb.ac.at/primo-explore/search?query=any,contains,Antonio%20Vivaldi%20grafik&tab=default_tab&search_scope=ONB_gesamtbestand&vid=ONB&offset=0
https://www.digitale-sammlungen.de/de/view/bsb11384147?q=durastanti&page=117
Hawkins, John: A General History Of The Science and Practice Of Music. 5
Standort
München, Bayerische Staatsbibliothek -- 4 Mus.th. 622-5
Urheber
Hawkins, John -- (GND: 118709291)
Titel
A General History Of The Science and Practice Of Music: In Five Volumes. 5
Von
By Sir John Hawkins
Entstehung
London : Payne
(1776)
O termo "Effigies" é comumente usado em títulos de retratos gravados no século XVIII, significando "retrato" ou "efígie" em latim. Antonio Vivaldi
"Effigies Antonii Vivaldi" refere-se geralmente ao famoso retrato gravado do compositor Antonio Vivaldi, criado por François Morellon de la Cave em 1725.
Esta imagem de busto (cabeça e ombros) é uma das representações mais
icônicas do "Padre Ruivo", frequentemente usada em edições históricas.
Detalhes sobre a Obra e o Retrato:
- Autor/Ano: Gravado por François Morellon la Cave em 1725, muitas vezes associado à edição da obra Op. 8 (que inclui As Quatro Estações) por Le Cène.
- Descrição: Mostra Vivaldi de perfil, destacando suas características, incluindo o cabelo ruivo que lhe deu o apelido "Il Prete Rosso".
- Contexto: O Victoria and Albert Museum e outras coleções digitais como a Alamy preservam esta gravura, destacando a importância de Vivaldi como compositor barroco.
Portret van de Italiaanse componist Antonio Vivaldi
François Morellon La Cave (vermeld op object), 1725
https://www.rijksmuseum.nl/nl/collectie/object/Portret-van-de-Italiaanse-componist-Antonio-Vivaldi--5246f476dc61fa80ece2d5a66171747a
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Juliette-Joséphine Simon-Girard 8 de maio de 1859 – 1954. foi uma soprano francesa, principalmente em opereta. [ 1 ] Seu pai, Philippe Loc... -
curiosidade esta imagem está numa parede em um vídeo com a Carli. https://www.facebook.com/reel/258032783629919 "Le Petit Journal ...