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Il trionfo del Tempo e del Disinganno is a landmark in baroque music. It is Handel’s first oratorio, a product of his astonishing flowering in Italy in his early twenties. Already recognized as a brilliant performer and composer, Handel arrived in Rome from Florence in late 1.
Title: FLEXA Catalogue 2016/2017 (EN, DE FR), Author. les façonner et les développer dans leur cheminement vers l’âge adulte Depuis. nur 6,5 kg FR. Single-Patient-Use Cables. Patient adulte Doigt adulte. • Diese Patientenkabel sind zur Verwendung bei nur einem Patienten vorgesehen. Sie dürfen aufgrund. View and Download Oregon Scientific BBW213 user manual. non utilisé par un adulte ou utilisé par des. lang gespeichert und ist nur für diesen Zeitraum.
The trampoline shall be assembled by an adult in accordance with the assembly instructions and. Le trampoline doit être monté par un adulte. Sollte nur unter. L'Hotel Castellastva est situé dans. Das bife ist sehr gut und nur zu. Un enfant plus âgé ou adulte est facturé 25 EUR par nuit et par personne pour l. Assembly Montage / Montage. an nur einem Punkt führt zu ruhigen, gleitenden Bewegungen. d’installer l’enfant dans le berceau Leander, un adulte.
Marquis Ruspoli, to whose household he became attached. He also attracted the ardent interest of Benedetto Pamphili (1. Il trionfo. Pamphili was the best- connected librettist Handel ever had. Fifty- four at the time of their collaboration, he was himself a Cardinal, his father was a former Cardinal, and his parents were respectively nephew and sister- in- law of a Pope (Innocent X).
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He was highly experienced in the creation of words- and- music, being the librettist of fourteen other oratorios and over eighty pastoral and moral cantatas. A patron of religious fraternities performing the former and a member of the Arcadian Academy of aristocratic poets and outstanding musicians manufacturing the latter, he employed a band of virtuoso instrumentalists which included Corelli, leader of the first performance of Il trionfo. He was also an art collector, adding to the magnificent family collection (which can be visited today in the Palazzo Doria- Pamphili). The family had recently sponsored the internal reconstruction of St John Lateran by the master of avant- garde baroque architecture, Borromini. Pamphili was familiar with the highest expression of complex, sophisticated, tastefully dramatic baroque gesture. As one might expect from such a cultivated connoisseur, the libretto of Il trionfo is a highly crafted composition drawing on a rich mix of artistic forebears.
As moral- religious allegory dramatized in music, it belongs to a genre familiar in Rome from the time of Cavalieri’s oratorio Il rappresentatione di anima et di corpo of 1. Time, Body, Soul, Counsel, Intellect, Guardian Angel, World and Worldly Life, and Pleasure. Scholars have traced in Il trionfo the influence of Petrarch’s Trionfi, of the cult of the repentant Mary Magdalene, and of the popularity of emblem books.
About 3. 00. 0 emblem books by over 7. Europe from the mid- sixteenth to the late eighteenth centuries. They were a combination of cartoon, quiz, poetry and map of the moral maze. Each page provided a simple but symbolic picture, a cryptic motto or proverb which it illustrated, and a poem explaining it. Among other uses, emblem books were intended for writers and speakers as a source of pregnant images. In Il trionfo the images—often cryptic or punning, just as in emblem books—and the way they are used by Pamphili and Handel—often ambiguously and challengingly—would have been familiar and delightful to the first audience.
The naked simplicity of revealed Truth was a regular subject of emblem books, and the central event of Il trionfo, Time unveiling Truth, had been famously embodied in Rome in Bernini’s statue of Truth, naked and glorious, illuminated by the sun, as in Il trionfo. Housed in the Galleria Borghese, this statue was originally designed as a group including Time.)Alongside all its richness of meaning and reference, Il trionfo is also a pattern book of human psychology. Trained by Jesuits, Pamphili was an experienced confessor, and had himself undertaken a reformation of his life. A fisher for human souls with a wealth of manuals to hand on how to deal with the recalcitrant convert or sinner, he gave Handel—who was himself embarking on the penetration of the human psyche in his cantatas—a Bildungsroman, a story of a young person’s development. There are four characters: Bellezza, Beauty, a young woman; Piacere, Pleasure, a young man (described in the emblem books as a charming youth of sixteen, and hence a soprano role); Disinganno, enlightened non- deceit (who is also referred to at one point as Counsel, meaning Good Counsel, good advice, and is perhaps best translated as Insight, rather than the usual Enlightenment, which has complicating period associations), a rather older man, an alto; and Tempo, Father Time, a tenor.
The action comprises the three male characters trying to influence Bellezza to follow their persuasions, Tempo and Disinganno acting together against Piacere. In a nutshell, the story is the conversion of Beauty from a yearning for worldly enjoyment to an aspiration to more secure rewards.
And by implication everyone should participate in such an aspiration: Beauty is the everyman character, is us, in this morality play. Myth and allegory work best when we can recognize in them the real dilemmas and emotions of human beings.
Il trionfo is a masterpiece of humane insight, and can be appreciated without recourse to any extraneous material, because it is true to life. While it is founded in religious doctrine, it works as a psychological study. The theme, put psychologically, is that to be able to live with oneself in the long term, one has to go below surface appearances, face the truth about oneself, and achieve balanced self- perception. Il trionfo could have a place in a psychotherapist’s textbook. The ‘personifications’ are variously parent, adult, and child figures.
Tempo and Disinganno are exemplary parents: consistent, caring, instructive and imaginative in their efforts to engage Bellezza’s attention. Against their consistency we see Piacere and Bellezza moving from one state to another. At the start, Piacere masquerades as adult to Bellezza’s presumed adult, while really Piacere is trying to be the controlling parent to Bellezza’s assumed child persona. She takes his instruction; he abets her wishful thinking and tries to prevent her really thinking for herself; and as it turns out, he is not only possessive and controlling, he is insecure himself, and deceitful as well. During the course of the work Bellezza begins to listen to Tempo and Disinganno and to move away from Piacere’s influence. When Piacere fails to have what he wants, he lapses into the condition of an uncontrolled angry child; while in generously offering him the mirror of truth to share with her, Bellezza rises finally from child to adult.
In the difficult course of detaching herself from Piacere, Bellezza goes through anxiety, denial, fear, loss and grief. In Part 2, every one of her utterances is a psychological move forward. We live through the pain of growth with her. Once she accepts responsibility for her own actions and her future, she enters a state akin to depression: she is convinced that she now sees the truth, and it is bleak. Her self- esteem lost in a pernicious relationship, she feels worthless and alone. The religious lesson is: accept God into your life sooner rather than later.
The psychological lesson is: if you are self- deceiving, refuse to accept the truth, and behave thoughtlessly, the unavoidable pay- back will be desolation, loss, regret, remorse, self- hatred. But by the end Bellezza has a calmer perspective, and is moving on from self- reproach towards secure self- esteem. In a later version of the libretto (1. Pamphili called this work Il trionfo del Tempo nella Bellezza Ravveduta, ‘Beauty reformed’, which gives the whole story away immediately. He also smoothed away some of the ambiguities of the text. But in 1. 70. 7 the text is complex, challenging the listener as well as the protagonist. Other Italian allegorical cantatas of the time have characters called ‘earthly Beauty’ and ‘spiritual Beauty’, ‘worldly Pleasure’ and ‘heavenly Pleasure’, but Pamphili engages us by not identifying the essential nature of Beauty and Pleasure in their names: part of the drama is that they gradually take shape before us.
The assertions that the characters make invite us to question them. The aphoristic texts of many of the recitatives demand reflection.
For instance at one point Pamphili comes near to saying, in anticipation of Keats, that Beauty is Truth, Truth Beauty, causing us to wonder (by now attuned to moral possibilities), but what kind of beauty, platonic and ideal, or physical and transient? Many of the images, for instance the two mirrors, are clearly loaded, and are suggestively realized in the music, but are not fully explained. Che pensi?—What do you think?—Tempo asks Bellezza, and we are constantly being asked that too. Exactly when and where in Rome Il trionfo had its first and probably only performance in Handel’s lifetime is unknown; it was possibly in Ruspoli’s Palazzo Bonelli. The autograph score is lost, and modern editions use the score made for the first performance, now in the Episcopal Seminary Library, Münster. The copyist was Antonio Giuseppe Angelini, and his invoice for the work is dated 1. May 1. 70. 7. Handel’s first biographer, Mainwaring, recounts that Handel’s overtures, with first movements in the French style, baffled the Italian- trained Corelli, so Handel rewrote the first movement of Trionfo’s overture in its present brilliant and demanding form.
He acknowledged Corelli in the final number too: with punning aptness Bellezza’s concluding aria, a prayer to her guardian angel, has a glorious violin obbligato, which Arcangelo Corelli would have played. Il trionfo is the first major work by Handel known to contain significant borrowing from another composer.
As John Roberts pointed out, Handel uses motifs from seven operas written by Reinhard Keiser between 1. Hamburg opera house, where Handel was working before he left Germany for Italy. Mostly (and characteristically) they are thoroughly reworked. The most recognizable aria in the whole oratorio is a self- borrowing: ‘Lascia la spina’, which became an enduring favourite as ‘Lascia ch’io pianga’ in Rinaldo (1. Handel’s first opera for Hamburg, Almira. Il trionfo paid back in kind, providing Handel with material for La resurrezione (1.
Agrippina (1. 70. Deborah (1. 73. 3) and Parnasso in festa (1.
Il trionfo holds a special place in Handel’s output not only as his first oratorio but as a work which he recycled more substantially than any of his other compositions.
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