12-[2025] 贝尔纳多·帕斯奎尼：《摩西在沙漠中的事迹》 [16B-44.1kHz]
艺术家：洛卡泰利声乐合奏团、洛卡泰利合奏团、托马斯·基吉奥尼
标题：贝尔纳多·帕斯奎尼：《摩西在沙漠中的事迹》
发行年份：2025年
唱片公司：达芬奇古典
流派：古典
音质：无损FLAC（音轨）
总时长：01:18:55
总大小：387兆字节
网站：专辑预览
曲目列表
01. 交响曲
02. 《摩西在沙漠中的事迹》，第一幕，第一场：宣叙调“已经越过阿拉伯地区”（叙述者、约书亚、摩西）
03. 《摩西在沙漠中的事迹》，第一幕，第二场：咏叹调“那令人惊喜的快乐”（摩西）
04. 《摩西在沙漠中的事迹》，第一幕，第三场：宣叙调“从那崇高的帐篷”（叙述者、杰特罗、摩西）
05. 《摩西在沙漠中的事迹》，第一幕，第四场：咏叹调“停下吧，哦天体的运行”（摩西）
06. 《摩西在沙漠中的事迹》，第一幕，第五场：咏叹调“哦，命运的朋友们，你们收敛吧”（杰特罗）
07. 《摩西在沙漠中的事迹》，第一幕，第六场：宣叙调“你们去吧，在此期间”（摩西、叙述者）
08. 《摩西在沙漠中的事迹》，第一幕，第七场：合奏、咏叹调“哦，令人愉悦的贫穷”（叙述者）
09. 《摩西在沙漠中的事迹》，第一幕，第八场：宣叙调“首先在金色的宝座上”（叙述者、杰特罗）
10. 《摩西在沙漠中的事迹》，第一幕，第九场：咏叹调“如果不朽的名声”（杰特罗）
11. 《摩西在沙漠中的事迹》，第一幕，第十场：宣叙调“你的渴望是正当的”（摩西、约书亚）
12. 《摩西在沙漠中的事迹》，第一幕，第十一场：咏叹调“请仔细听，哦亲爱的父亲”（摩西）
13. 《摩西在沙漠中的事迹》，第一幕，第十三场：宣叙调“既然那疯狂的热情”（约书亚）
14. 《摩西在沙漠中的事迹》，第一幕，第十四场：合奏、咏叹调“以我的忠诚，以我的热情”（约书亚）
15. 《摩西在沙漠中的事迹》，第一幕，第十四场：宣叙调“哦上帝，这是什么奥秘”（杰特罗）
16. 《摩西在沙漠中的事迹》，第一幕，第十五场：宣叙调“干渴刚刚消除”（约书亚）
17. 《摩西在沙漠中的事迹》，第一幕，第十六场：咏叹调“但我们微弱的声音”（约书亚）
18. 《摩西在沙漠中的事迹》，第一幕，第十七场：宣叙调“那些吗哪，哦我的孩子们”（杰特罗、约书亚）
19. 《摩西在沙漠中的事迹》，第一幕，第十八场：咏叹调“讲述世间的变迁”（约书亚）
20. 《摩西在沙漠中的事迹》，第一幕，第十九场：宣叙调“被击败的希伯来人在哭泣”（约书亚、摩西）
21. 《摩西在沙漠中的事迹》，第一幕，第二十场：咏叹调“我该怎么办，我的上帝”（摩西）
22. 《摩西在沙漠中的事迹》，第一幕，第二十一场：宣叙调“于是摩西祈祷着”（约书亚、杰特罗）
23. 《摩西在沙漠中的事迹》，第一幕，第二十二场：合唱“天上至高的统治者”（合唱团）
24. 《摩西在沙漠中的事迹》，第一幕，第二十三场：咏叹调“那具尸体”（叙述者）
25. 《摩西在沙漠中的事迹》，第一幕，第二十四场：宣叙调“在如此珍贵的夜晚之后”（叙述者、约书亚、摩西）
26. 《摩西在沙漠中的事迹》，第一幕，第二十五场：咏叹调“如果不是上帝，还会是谁？”（摩西）
27. 《摩西在沙漠中的事迹》，第一幕，第二十六场：宣叙调“孩子，孩子，你为何散播”（杰特罗）
28. 《摩西在沙漠中的事迹》，第一幕，第二十七场：咏叹调“在卑劣的胸怀”（杰特罗）
29. 《摩西在沙漠中的事迹》，第一幕，第二十八场：宣叙调“还是用吧，哦孩子”（杰特罗）
30. 《摩西在沙漠中的事迹》，第一幕，第二十九场：二重唱“冲啊，冲啊，冲啊，去战斗”（摩西、杰特罗）
31. 《摩西在沙漠中的事迹》，第一幕，第三十场：宣叙调“听着，我亲爱的约书亚”（摩西、叙述者）
32. 《摩西在沙漠中的事迹》，第一幕，第三十一场：咏叹调“勇士们，追随者们”（约书亚）
33. 《摩西在沙漠中的事迹》，第一幕，第三十二场：宣叙调“亚玛力人将学到”（约书亚）
34. 《摩西在沙漠中的事迹》，第一幕，第三十三场：咏叹调“战争，战争”（约书亚）
35. 《摩西在沙漠中的事迹》，第一幕，第三十四场：宣叙调“命运向你们伸出卷发”（约书亚、叙述者）
36. 《摩西在沙漠中的事迹》，第一幕，第三十五场：咏叹调“统治的意义何在”（叙述者）
37. 《摩西在沙漠中的事迹》，第一幕，第三十六场：宣叙调“摩西悲痛地登上”（叙述者）
38. 《摩西在沙漠中的事迹》，第一幕，第三十七场：咏叹调“我的上帝，从你那里发出的指示”（摩西）
39. 《摩西在沙漠中的事迹》，第一幕，第三十八场：宣叙调“只要它持续”（叙述者、摩西）
40. 《摩西在沙漠中的事迹》，第一幕，第三十九场：咏叹调“在我看到之前”（摩西）
41. 《摩西在沙漠中的事迹》，第一幕，第四十场：宣叙调“在命运的十字路口”（叙述者）
42. 《摩西在沙漠中的事迹》，第一幕，第四十一场：咏叹调“带着来自天上的热情”（叙述者）
43. 《摩西在沙漠中的事迹》，第一幕，第四十二场：宣叙调“虔诚的祈祷”（杰特罗）
44. 《摩西在沙漠中的事迹》，第一幕，第四十三场：合奏、咏叹调“会哭泣的眼睛”（杰特罗）
45. 《摩西在沙漠中的事迹》，第一幕，第四十四场：宣叙调“摩西从山上下来”（叙述者）
46. 《摩西在沙漠中的事迹》，第一幕，第四十五场：合唱“美丽的星辰”（合唱团）
在清唱剧这一音乐体裁诞生后的第一个世纪里，它在数量（作品大量涌现）、质量（一些早期作品堪称绝对的杰作，还有众多优秀或非常出色的清唱剧）、主题和风格等方面都取得了惊人的发展。17世纪的许多伟大作曲家都曾尝试创作这一体裁，对一些作曲家而言，清唱剧是他们艺术创作的主要领域之一。在巴洛克早期，这一体裁的核心无疑在意大利，尤其聚焦于罗马——得益于佛罗伦萨的圣菲利普·内里的活动，清唱剧在此诞生。然而，这一体裁的发展也意味着其地理传播，这为清唱剧后来在整个欧洲国家的盛行奠定了基础。
不过，17世纪许多最重要的清唱剧作曲家都集中在罗马。这显然是因为，以教皇所在城市为中心，存在着一个有教养、富裕且具有精神信仰的社会；同时，天主教首都的歌剧演出时常受到限制。
这些条件促进了许多在歌词创作和音乐编排方面的人才涌现。贝尔纳多·帕斯奎尼便是其中之一，他创作的这部清唱剧在这张达芬奇古典的作品中进行了世界首录。
帕斯奎尼出生于如今的托斯卡纳皮斯托亚省。贝尔纳多在乌扎诺接受了最初的音乐教育，之后搬到了如今艾米利亚-罗马涅地区的费拉拉。在那里，他有机会进一步深造音乐。他和叔叔乔瓦尼·帕斯奎尼一起生活，叔叔鼓励他向这座城市的音乐精英学习——费拉拉在文艺复兴和巴洛克早期是意大利文化的中心之一。
1655年，18岁的帕斯奎尼开始在罗马被记载，当时他是罗马贵族因诺琴佐·孔蒂的雇员。五年后，帕斯奎尼被称为“新教堂的贝尔纳多”，这意义重大，因为新教堂是圣菲利普·内里活动和精神的中心。事实上，帕斯奎尼在1657年至1664年期间担任新教堂的管风琴师，因此深受清唱剧诞生地及其命名来源地的价值观和美学的熏陶。
多次被提及的记载证明，帕斯奎尼很快就在罗马的音乐界站稳了脚跟，也因此获得了人们的尊重和赞赏。
1664年，帕斯奎尼的职业生涯又上了一个台阶，他成为了罗马最重要的大教堂之一——圣母大殿的管风琴师，同时还在宏伟的圣玛利亚·因·阿拉科埃利教堂获得了一个重要职位。帕斯奎尼或许得到了红衣主教弗拉维奥·基吉的赞助，基吉是教皇的侄子，同年，帕斯奎尼跟随他前往法国宫廷。
三年后，我们发现帕斯奎尼又受到了另一位贵族乔瓦尼·巴蒂斯塔·博尔盖塞的庇护，博尔盖塞给他丰厚的薪水、诸多福利和一份稳定的工作。帕斯奎尼跟随这位亲王前往威尼斯，并在那里停留了好几个月，这段经历无疑对他尝试创作歌剧起到了重要的推动作用。
他的第一部歌剧创作于1672年：《伊尔·蒂林托》在离罗马不远的阿里恰首演，由众多艺术和文化学院之一（顺便说一句，阿里恰的“闲散者学院”至今仍然活跃）呈现。在《伊尔·蒂林托》之后，又有了《阿尔卡斯塔》和《埃利奥加巴卢斯》（这部歌剧并非完全由帕斯奎尼创作）。
在帕斯奎尼生命中的这十年里，他还为博尔盖塞小教堂创作了大量的清唱剧和宗教康塔塔；值得一提的是，博尔盖塞家族并不独占帕斯奎尼的作品，这些作品不仅在罗马上演，还在许多其他重要城市演出，如法恩扎、费拉拉、佛罗伦萨、卢卡、摩德纳、巴勒莫和维也纳。
1687年，帕斯奎尼根据亚历山德罗·圭迪的歌词创作的一部作品为英格兰国王詹姆斯二世上演：参与演出的人数超过了250人（！）——这让我们在宣称小型管弦乐队是巴洛克音乐唯一“正宗”声音时不得不三思。这个庞大乐团的指挥是阿尔坎杰罗·科雷利。在那些年里，帕斯奎尼还与贝尔尼尼家族有过非常有声望的合作——贝尔尼尼家族是罗马巴洛克一些最具标志性建筑的建筑师。帕斯奎尼在科隆纳宫的活动也同样重要，17世纪80年代，他为这个罗马贵族主要“家族”之一创作了几部歌剧并在此上演。
这一关系网使帕斯奎尼能够为一些地位极高的场合创作音乐，其中一些还涉及政治层面：例如，他与亚历山德罗·梅拉尼和亚历山德罗·斯卡拉蒂合作，为红衣主教潘菲利的一部悲剧创作音乐，该悲剧为英国大使首演。
如前所述，帕斯奎尼在歌剧和清唱剧领域的作品经常被“输出”到罗马以外的地方，他与欧洲许多王室的相识使他处于非常优越的地位。尽管如此，他仍然深深忠诚于罗马贵族，他最后的职位是为乔瓦尼·巴蒂斯塔·博尔盖塞的儿子马尔坎托尼奥服务。不过，偶尔也会有紧张关系，特别是当帕斯奎尼对雇主的职责与他为他人服务发生冲突时（比如与美第奇家族的合作）。在帕斯奎尼的晚年，他逐渐从活跃的音乐创作中退休，并精心整理了自己的一些早期作品，尤其是为了他的众多学生。他的讣告称，他的家中接待了“所有在他那个时代来到罗马的君主，特别是曼图亚公爵、摩德纳公爵”以及一些外国王子。
事实上，1687年摩德纳公爵在前往罗马时，曾赠给帕斯奎尼一笔钱让他制作一枚戒指。也就是在这一年，这里录制的这部清唱剧首演，这绝非巧合。这部清唱剧是关于摩西生平事迹的八部系列清唱剧之一，均根据乔瓦尼·巴蒂斯塔·贾尔迪尼的歌词创作：这些乐谱由几位作曲家创作，包括文森佐·德·格兰迪斯（《摩西的诞生》，1682年；《摩西的婚姻》，1684年）、乔瓦尼·保罗·科隆纳（《摩西，上帝的使者》；这是第三部清唱剧，1686年首演）、贾科莫·佩尔蒂（《引导以色列人的摩西》，1687年，第四部）和贝尔纳多·帕斯奎尼（第五部）。之后是安东尼奥·贾内蒂尼的《法官的创造》（1688年）和《西奈山上的上帝》（1691年），随后是亚历山德罗·梅拉尼的《祭司职位的分裂》（1691年）。
乔瓦尼·巴蒂斯塔·贾尔迪尼是费拉拉统治者弗朗切斯科二世·埃斯特公爵的秘书，费拉拉在地理和精神上都与摩德纳关系密切。有人认为，这一系列宏大的清唱剧可能是为了在一本诽谤摩西的丑闻性、亵渎性小册子出版后，彰显这位犹太族长的伟大而创作的。用维克多·克劳瑟的话说，这一系列清唱剧是“宗教、政治和戏剧娱乐的精妙融合，既能提供教诲，又能带来乐趣”。此外，尤其是在早期的歌词中，对犹太人和犹太教表现出了显著的开放态度。对于当今的读者来说，如果不了解法国宫廷和埃斯特家族之间微妙的外交动态，可能就无法察觉其中对当时政治的其他影射（特别是“太阳王”经常被描绘成邪恶的法老）。
帕斯奎尼创作的这部清唱剧的主题是以色列人在摩西的带领下在旷野中度过的岁月。这一主题在清唱剧文献中较为罕见，不过在亨德尔的《以色列人在埃及》中有所涉及，在卡尔·菲利普·埃马努埃尔·巴赫（稍晚时期）的一部清唱剧中也占据重要地位。
帕斯奎尼的这部清唱剧由洛卡泰利合奏团的指挥托马斯·基吉奥尼改编，他发现了摩德纳埃斯特图书馆数字化的手稿在音乐和视觉上的美感。正如基吉奥尼自己所观察到的，“特别吸引我的一个方面是其音乐结构明显以通奏低音为中心。这为探索不同的音色组合、尝试乐器与声音之间的交织提供了可能，并为作品留下清晰而独特的诠释印记。这是一种通过通奏低音来生存和呼吸的音乐；对它的诠释意味着每次都要用全新的敏感度来塑造它。这部作品的音乐质量给我们留下了深刻的印象：它是一种强烈的、富有戏剧性的音乐，充满了丰富的表现力，而且令人惊讶的是，至今从未被录制过”。这里录制的演出在贝加莫的多尼采蒂剧院举行，生动地见证了这部精湛乐谱重见天日所带来的独特体验。
Artist: Locatelli Vocal Ensemble, Locatelli Ensemble, Thomas Chigioni
Title: Bernardo Pasquini: I fatti di Mosé nel deserto
Year Of Release: 2025
Label: Da Vinci Classics
Genre: Classical
Quality: flac lossless (tracks)
Total Time: 01:18:55
Total Size: 387 mb
WebSite: Album Preview
Tracklist
01. Sinfonia
02. I fatti di Mosé nel deserto, Act I, Scene 1: Recitativo Scorso già dell'Arabia (Narrator, Giosuè, Mosè)
03. I fatti di Mosé nel deserto, Act I, Scene 2: Aria Quel diletto che sorprende (Mosè)
04. I fatti di Mosé nel deserto, Act I, Scene 3: Recitativo, Del padiglione eccelso (Narrator, Getro, Mosè)
05. I fatti di Mosé nel deserto, Act I, Scene 4: Aria Trattenete ò sfere il corso (Mosè)
06. I fatti di Mosé nel deserto, Act I, Scene 5: Aria Qui chiudete ò fati amici (Getro)
07. I fatti di Mosé nel deserto, Act I, Scene 6: Recitativo Ite, e sieno frà tanto (Mosè, Narrator)
08. I fatti di Mosé nel deserto, Act I, Scene 7: Ritornello, Aria O gradita povertà (Narrator)
09. I fatti di Mosé nel deserto, Act I, Scene 8: Recitativo Primo sugli aurei scanni (Narrator, Getro)
10. I fatti di Mosé nel deserto, Act I, Scene 9: Aria Se fama immortale (Getro)
11. I fatti di Mosé nel deserto, Act I, Scene 10: Recitativo Giuste son le tue brame (Mosè, Giosuè)
12. I fatti di Mosé nel deserto, Act I, Scene 11: Aria Odi attento o Padre amato (Mosè)
13. I fatti di Mosé nel deserto, Act I, Scene 13: Recitativo Poiché l'insano ardore (Giosuè)
14. I fatti di Mosé nel deserto, Act I, Scene 14: Ritornello, Aria D'una fede al mio zelo (Giosuè)
15. I fatti di Mosé nel deserto, Act I, Scene 14: Recitativo Ma qual mistero oh Dio (Getro))
16. I fatti di Mosé nel deserto, Act I, Scene 15: Recitativo La sete estinta à pena (Giosuè)
17. I fatti di Mosé nel deserto, Act I, Scene 16: Aria Ma nostre voci flebili (Giosuè)
18. I fatti di Mosé nel deserto, Act I, Scene 17: Recitativo Quelle manne o miei figli (Getro, Giosuè)
19. I fatti di Mosé nel deserto, Act I, Scene 18: Aria Dan del mondo le vicende (Giosuè)
20. I fatti di Mosé nel deserto, Act I, Scene 19: Recitativo Piange l'ebreo sconfitto (Giosuè, Mosè)
21. I fatti di Mosé nel deserto, Act I, Scene 20: Aria Che si farà mio Dio (Mosè)
22. I fatti di Mosé nel deserto, Act I, Scene 21: Recitativo Così Mosè pregando (Giosuè, Getro)
23. I fatti di Mosé nel deserto, Act I, Scene 22: Coro Sommo rettor del cielo (Chorus)
24. I fatti di Mosé nel deserto, Act I, Scene 23: Aria Quella salma (Narrator)
25. I fatti di Mosé nel deserto, Act I, Scene 24: Recitativo Dopo notte si cara (Narrator, Giosuè, Mosè)
26. I fatti di Mosé nel deserto, Act I, Scene 25: Aria Chi sarà se non è Dio? (Mosè)
27. I fatti di Mosé nel deserto, Act I, Scene 26: Recitativo Figlio, figlio a che spargi (Getro)
28. I fatti di Mosé nel deserto, Act I, Scene 27: Aria A vil seno (Getro)
29. I fatti di Mosé nel deserto, Act I, Scene 28: Recitativo Usa piuttosto o figlio (Getro)
30. I fatti di Mosé nel deserto, Act I, Scene 29: Duetto Su, su, su, alla pugna (Mosè, Getro)
31. I fatti di Mosé nel deserto, Act I, Scene 30: Recitativo Odi mio caro Giosuè (Mosè, Narrator)
32. I fatti di Mosé nel deserto, Act I, Scene 31: Aria Campioni, seguaci (Giosuè)
33. I fatti di Mosé nel deserto, Act I, Scene 32: Recitativo L'amalecita impari (Giosuè)
34. I fatti di Mosé nel deserto, Act I, Scene 33: Aria Guerra, guerra (Giosuè)
35. I fatti di Mosé nel deserto, Act I, Scene 34: Recitativo Fortuna il crin vi porge (Giosuè, Narrator)
36. I fatti di Mosé nel deserto, Act I, Scene 35: Aria Che non fa del regnar (Narrator)
37. I fatti di Mosé nel deserto, Act I, Scene 36: Recitativo Mosè fratanto asceso (Narrator)
38. I fatti di Mosé nel deserto, Act I, Scene 37: Aria Mio Dio da cui cenni (Mosè)
39. I fatti di Mosé nel deserto, Act I, Scene 38: Recitativo Sin che durò (Narrator, Mosè)
40. I fatti di Mosé nel deserto, Act I, Scene 39: Aria Prima ch'io veggia (Mosè)
41. I fatti di Mosé nel deserto, Act I, Scene 40: Recitativo Sul bivio della sorte (Narrator)
42. I fatti di Mosé nel deserto, Act I, Scene 41: Aria Col zelo dal cielo (Narrator)
43. I fatti di Mosé nel deserto, Act I, Scene 42: Recitativo Prece divota (Getro)
44. I fatti di Mosé nel deserto, Act I, Scene 43: Ritornello, Aria Pupilla che sa piangere (Getro)
45. I fatti di Mosé nel deserto, Act I, Scene 44: Recitativo Sceso Mosè dal monte (Narrator)
46. I fatti di Mosé nel deserto, Act I, Scene 45: Coro Stelle belle (Chorus)
In the first century of its life, the musical genre of the Oratorio knew an impressive growth, in terms of quantity (a proliferation of compositions), quality (some early works which are absolute masterpieces, and a plethora of excellent or very good Oratorios), subjects, and styles. Many of the greatest composers of the seventeenth century tried their hand in this genre, and for some it was one of the main veins of their artistic activity. In the early Baroque, the beating heart of this genre was doubtlessly to be found in Italy, with a particular focus in the city of Rome, whence it had originated thanks to the activity of the Florentine St. Philip Neri. However, the expansion of the genre also implied a geographical spread, which was the precondition for the Oratorio’s subsequent conquest of all European countries.
It was in Rome, however, that many of the most important Oratorio composers of the seventeenth century could be found. This was due, evidently, to the concomitance of a cultivated, wealthy, spiritually committed society centered around the Popes’ city; and of the limitations which periodically restricted operatic performances in the capital of Catholicism.
These conditions favoured the blossoming of many talents, as regards both libretto poetry and musical settings. One of them was Bernardo Pasquini, who penned the oratorio recorded, in world premiere, in this Da Vinci Classics production.
Pasquini was born in what is today the province of Pistoia, in Tuscany . Bernardo received his first musical education in Uzzano, and then moved to Ferrara, in today’s Emilia-Romagna. There he had the possibility of furthering his musical education. Living with his uncle, Giovanni Pasquini, he was encouraged to study with the musical elite of the city, which was one of the capitals of Italian culture in the Renaissance and early Baroque.
In 1655, at eighteen, Pasquini’s presence begins to be documented in Rome, as an employee of Innocenzo Conti, a Roman aristocrat. Five years later, Pasquini is identified as “Bernardo della Chiesa Nuova”, and this is highly meaningful since the Chiesa Nuova was the centre of St Philip Neri’s initiatives and spirituality. Pasquini was in fact the organist at the Chiesa Nuova from 1657 to 1664, thus absorbing the values and aesthetics of the very place where the Oratorio was born and whence it had taken its name.
The multiple occasions on which Pasquini is mentioned bear witness to his quick acceptance in the world of musical Rome, and, therefore, to the esteem and appreciation surrounding him.
In 1664, Pasquini’s career had a further upgrade, since he became the organist at Santa Maria Maggiore, one of the most important Roman Basilicas, and also acquired another important post in the magnificent church of Santa Maria in Aracoeli. Pasquini was probably under the patronage of a Cardinal, Flavio Chigi, who was the Pope’s nephew, and with whom the musician went to the French Court in that same year.
Three years later, we find Pasquini under the wings of yet another nobleman, Giovanni Battista Borghese, who granted him a conspicuous salary, many benefits, and a stable job. With the Prince, Pasquini travelled to Venice, where they remained for many months, and this experience was certainly fundamental for encouraging Pasquini to try his hand in the field of opera.
His first opera dates from 1672: Il Tirinto was premiered in Ariccia, not distant from Rome, by one of the many Academies of art and culture (incidentally, the Accademia degli Sfaccendati is still alive and kicking in Ariccia). After Il Tirinto came L’Alcasta and Eliogabalo (in this case, the opera was not entirely written by Pasquini).
That decade of Pasquini’s life saw also a steady flow of Oratorios and spiritual Cantatas for the Borghese chapel; it is to be pointed out that the Borghese family did not claim exclusive property on Pasquini’s creations, which were performed both in Rome and in many other important cities such as Faenza, Ferrara, Florence, Lucca, Modena, Palermo, and Vienna.
In 1687, a work by Pasquini on a libretto by Alessandro Guidi was performed for King James II of England: there were more than 250 (!) performers involved – which should give us pause when we claim that small orchestras are the only “authentic” sound of Baroque music. The conductor of this monster ensemble was Arcangelo Corelli. Other highly prestigious cooperations enacted by Pasquini in those years involve the Bernini family – the architects of some of the most iconic buildings of Baroque Rome. No less important was Pasquini’s presence at the Colonna Palace, with several operas performed in the 1680s for this family, one of the main “clans” of the Roman aristocracy.
This network led Pasquini to write music for some extremely high-status occasions, several of which included a political dimension: for instance, he co-wrote, with Alessandro Melani and Alessandro Scarlatti, the music for a tragedy by Cardinal Pamphilj, premiered for the Ambassador of the United Kingdom.
Pasquini’s works in the fields of both opera and oratorios were frequently “exported” outside Rome, as has been briefly mentioned earlier, and his acquaintance with many ruling houses throughout Europe situated him in a very privileged position. Notwithstanding this, he remained profoundly devoted to the Roman aristocracy, and his last appointment was in the service of Giovan Battista Borghese’s son, Marcantonio. Still, there were also occasional tensions, especially when Pasquini’s duties vis à vis his employer conflicted with his service to others (as happened with the Medici family). Pasquini’s last years saw his progressive retirement from active musicianship and his careful ordering of some of his early works, especially for the sake of his many students. His obituary states that his house welcomed “all sovereigns who came to Rome at his time, and especially the Duke of Mantua, the Duke of Modena”, and some foreign Princes.
The Duke of Modena, indeed, presented Pasquini with a sum for making a ring, on the occasion of a journey he made to Rome in 1687. This was the same year in which the Oratorio recorded here was premiered, and this is certainly not a coincidence. Our Oratorio is one in a cycle of eight about the life and deeds of Moses, all setting to music the lyrics by Giovanni Battista Giardini: the scores were authored by several composers, including Vincenzo De Grandis (Il Nascimento di Mosè, 1682; and Il matrimonio di Mosè, 1684), Giovanni Paolo Colonna (Il Mosè, legato di Dio; this was the third Oratorio, premiered in 1686), Giacomo Perti (Mosè conduttor del Popolo ebreo, 1687 the fourth) and Bernardo Pasquini (the fifth). Later came La creazione de’ magistrati (1688) and Dio sul Sinai (1691), both by Antonio Gianettini, followed by Lo scisma del sacerdozio by Alessandro Melani (1691).
Giovanni Battista Giardini was the secretary to Duke Francesco II Este, the ruler of Ferrara, a city which was close to Modena both geographically and spiritually. It has been suggested that this grand cycle of Oratorios might have been conceived in the effort to affirm the greatness of the Jewish patriarch following the publication of a scandalous and blasphemous pamphlet which libeled him. In the words of Victor Crowther, this series of Oratorios is “a sophisticated blend of religion, politics, and dramatic entertainment that would give both instruction and pleasure”. Furthermore, and especially in the first librettos, a noteworthy openness towards the Jews and Judaism is found. Other allusions to contemporaneous politics may escape the attention of today’s readers, if they are not knowledgeable about the subtle dynamics of diplomacy between the French Court and the Estes (in particular, the Roi Soleil is frequently portrayed as the evil Pharaoh).
The subject of the Oratorio set to music by Pasquini regards the years spent by Israel in the wilderness, under Moses’ guidance. It is a subject which is found rather rarely in the Oratorio literature, although it is touched upon in Handel’s Israel in Egypt and features prominently in a (later) Oratorio by Carl Philipp Emanuel Bach.
Pasquini’s Oratorio has been transcribed by Thomas Chigioni, the conductor of the Locatelli Ensemble, who observed the musical and visual beauty of the manuscript digitized by the Este Library in Modena. As Chigioni himself observes, “An aspect which fascinated me especially is the musical structure which is markedly centered around the continuo. This opened up the possibility of exploring different timbral combinations, to experiment with intertwining between instruments and sounds, and to leave a neat and personal interpretive mark on the work. It is a music which lives and breathes through the continuo; interpreting it means shaping it every time with a novel sensitivity. We were highly impressed by the musical quality of this work: it is an intense, theatrical music, extremely rich in expressive nuances, and – astonishingly – until now never recorded”. The performance recorded here took place at the Donizetti Theatre in Bergamo, and is a living testimony of the unique experience afforded by the rediscovery of this masterly score.
**** Hidden Message *****
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