import WikiScore import Stave import Abc ---------------------------------------------------------------------------------------------- --------------------- Sinfonia (in F) --------------------------------------------------------- ---------------------------------------------------------------------------------------------- -- Prj attributes namespace = A "namespace" "costa" musicby = "Costa, Abade António da (1714-c1780)" title = A "title" "Drei Sonaten für drei Violinen" facsimile = A "facsimile" "https://digital.onb.ac.at/RepViewer/viewer.faces?doc=DTL_5341903&order=1&view=SINGLE" --libreto = A "" latex = A "latex" "<code>\n%%pageheight\t29.7cm\n%%pagewidth\t21cm\n%%topmargin\t3cm\n%%botmargin\t2cm\n%%leftmargin\t1cm\n%%rightmargin\t1cm\n%%gchordfont Times-Roman 14\n%%titlefont Times-Roman 30\n%%subtitlefont Times-Roman 20\n%%composerfont Times-Italics 16\n%%measurebox true\n%%measurenb\t0\n%%scale\t\t0.7\n%%begintext justify\n..........................................\n%%endtext\n
\n“ introd = A “Introduction” “Abott Ant\243nio da Costa (1714-1780?) was a Portuguese musician who, \nborn in the Porto region, left the country in 1749 for Rome, from where he \nmoved to Vienna, where he is thought to have died around 1780.\nMisantrope, he despised the positions offered to him, living\nmost of his life in poverty. His intelligence and idiosincratic behaviour \nattracted the attention of the high nobility, in whose salons he sometimes played \nhis compositions for violin or guitar. Charles Burney,\nwho in 1772 met him in a musical party at Lord Stormont's house, found \”his musical opinions\nas singular as his character\”. In his travel diary, Burney also noted that\nin the abott's compositions, \“melody is less attended to\nthan harmony and uncommon modulation; and that the time is always difficult to\nmake out, from the great number of ligatures and fractions (…)\”.\n\nThis stylistic analysis matches these Drei Sonaten f\252r drei Violinen,\nperhaps the earliest works by Abbot Costa found so far. (For more, please see Ciacchi & Dellaborra, 2020.) The manuscript score,\narchived in the Austrian National Library, in Vienna, has the following inscription on fol.7:\n\“Canoni dell\8217 Abate Portoghese\”.\n\nThese trios most probably date from 1752, as they seem to be those referred to in a letter, dated February 28, 1752,\nthat the abott sent from Rome to amateur friends in Porto:\n\“(…) here are two [trios] to join the others and make half a dozen\”\n(\“ahi v\227o dous para ajustar com os outros a meia duzia\”). The two trios sent\nmust therefore be nrs. V and VI below, meaning that nr. IV had already reached Porto.\nHe also mentions that he forgot to copy the bass part of the Allegro of the first trio\n(\“Esqueci-me de copiar o \250ltimo Allegro no basso do primeiro trio\”)\n- that is, nr. V - which could be found at the end of the manuscript score sent to Porto.\n\nIntended as they were for amateur violinists, these works are far from virtuosistic. But they clearly \nshow the originality of the abott's style, full of modulations, chromaticisms, and the \“ligatures and fractions\” that Burney found so intriguing and tracing \“a new road\” with desdain from following \“the steps of others\”.\nThe use of ties and spicatto notes also matches with the fragment of a piece for the guitar that\nBurney heard Costa playing in the same party (4-9-1772), which he recorded from memory in his travel book (page 290):\n
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\nX:1\nM:3/4\nL:1/8\nK:F\nV: 1 clef=treble\n%%MIDI program 1 40\n%%staves 1 \n[V: 1]\t%----- edit between the lines\n [Q:\"Andante\"] (GAB)| (Adc)z2 (GBA) | GEF z2 Acf | .B(ag) .A(gf) (GBd) | {F}E2F z2 GAB | Adc \"_&c.\" X \n%---------------------------------\n
\n\nThe epithet \“Canoni dell\8217 Abate Portoghese\” refers to the imitative style of most of these pieces.\nCosta refers in his letter to two \“fugues\” that come out beautiful if played in tune and all parts well in time\n(\“(…) essas duas fugas (…) ajustem-nas bem afinadinhas, limpas, e muito a tempo todas as partes, e ver\227o que cousa sae t\227o bonita\”). Although not fugues in the strict sense of the time, these are probably\nthe \“Andantino cantabile\” and the \“Allegro\” of nr. V. \n\nBurney (page 292) mentions a duet for two violins by Abott Costa which was so difficult \8220both in time and style\8221 that couldn\8217t be properly played by violinist M. Startzel and himself after many trials, in the same party, after dinner. (During dinner, Burney, Gluck and Costa had an interesting conversation - \8220we all talked more than we eat\8221).\n“
– Prj Parts
pt1 = Prt 1 “treble” “Violino I.mo” “Vl.I” (Mid “1” “40”) [] pt2 = Prt 2 “treble” “Violino II.do” “Vl.II” (Mid “1” “40”) [] pt3 = Prt 3 “treble” “Violino III.zo” “Vl.III” (Mid “1” “40”) []
– Prj Stave
base = [ Sq [ the 1, the 2, the 3 ] ]
– Prj Sections
status = A “status” “started”
shiftedBy n k = gurl (show (n+k)) (show n)
gurl s t = url (facfol s) t
where facfol s = "https://digital.onb.ac.at/RepViewer/viewer.faces?doc=DTL_5341903&order=1&view=SINGLE"++"#page="++s
– Sections
s1= Sct “Trio IV (Posato)” 1
All
(MLK "C" "1/4" "F") [ A "fol.1v, etc" "", status ]
s2= Sct “Trio IV (Allegro assai)” 2
All
(MLK "12/8" "1/8" "F") [ A "fol.9v, etc" "", status ]
s3= Sct “Trio IV (Adagio)” 3
All
(MLK "C" "1/4" "F") [ A "fol.20, etc" "", status ]
— s4= Sct “Trio V (Andantino cantabile)” 4
All
(MLK "3/2" "1/2" "G") [ A "fol.TBC" "", status ]
s5= Sct “Trio V (Allegro)” 5
All
(MLK "C" "1/4" "G") [ A "fol.TBC" "", status ]
s6= Sct “Trio V (Posato)” 6
All
(MLK "3/4" "1/4" "G") [ A "fol.TBC" "", status ]
— s7= Sct “Trio VI (Largo)” 7
All
(MLK "6/4" "1/4" "G") [ A "fol.TBC" "", status ]
s8= Sct “Trio VI (Allegretto)” 8
All
(MLK "C" "1/4" "C") [ A "fol.TBC" "", status ]
– the END
prj = initWSPproject
"costa"
musicby
[ title, facsimile, namespace, introd, latex ]
[ pt1 , pt2, pt3 ]
[ s1, s2, s3, s4, s5, s6, s7, s8 ]
base
main = prj2jsonFile prj
– checking invariants
ok = (matrixOk prj) && (riSP prj) && (riSS prj) && (matts prj)
</code> | Back to project index