《新闻直播间》 20170618 1700

The serenata Polifemo opens with an overture for which Bononcini adopts the formal model of the two-part French ouverture in which a slower section with dotted rhythms is followed by a quicker section often involving fugal textures. Bononcini combines his French model with the Italian concerto principle with its multiple choirs of instruments: here the wind ensemble alternates in the quick section with the strings. Although it is in only one act, Polifemo is made up of no fewer than twenty musical numbers: seventeen arias, two duets and one chorus. With a single exception, these numbers are cast in da capo form. Some have no instrumental prelude, whereas eight end with a postlude described as a “ritornello”, with elaborately worked-out parts for the instrumentalists. These postludes presumably allowed preparations to be made for the following action.

French Baroque: Versailles 1700-1740 album by Dorothee Oberlinger was released Mar 01, 2011 on the Deutsche Harmonia Mundi label.

The new recording by recorder player Dorothee Oberlinger with violinist and countertenor Dmitry Sinkovsky shows the turn of the musical era from the Renaissance to the Baroque in a kaleidoscope of newly conceived, experimental declamatory music by Italian masters that show passions such as love and hate, grief and joy, astonishment and longing for the first time in music.

この300年間の精密で精緻な数学史である。三巻本で約1000ページはある。いま発刊されている数学史は色々と多彩で、ギリシア時代からアラビア科学、中世ルネッサンスにかけての三次、四次方程式などから、カルダーノからタルターリアまで。然しこのデュドネの数学史は、今まで読んだ、どの数学史本とも異なる著作だ。扱う時代は18世紀から20世紀の始めまで、しかも内容たるや論理構造を重視し、精密で内容の系譜と進化を特徴としている。