Hunan tong zhi : 219 juan, juan shou 3 juan, juan mo 6 juan /

Pai qi: "Bu zheng shi si ya men cang ban".

Vida do infante Dom Duarte

Also published from the original (?) manuscript (formerly in the possession of José Freire Monterroyo Mascarenhas) in the Revista litteraria of Porto, 1842, Vol. IX, p. 433-467. cf. Silva, v. I, p. 67.

South Africa a century ago; 1797-1801.

Mode of access: Internet.

Antonio Salieri, Brustbild

Signatur des Originals: S 36/F01710

Bühnenbild, zu: Antonio Salieri: Palmira

Signatur des Originals: S 36/F11383

Antonio Salieri, Brustbild

Signatur des Originals: S 36/G02114

Antonio Salieri, Brustbild

Signatur des Originals: S 36/G02115

Antonio Salieri, Brustbild

Signatur des Originals: S 36/G02116

Antonio Salieri, Brustbild

Signatur des Originals: S 36/G03603

Colonización y formación de un paisaje agrario. El caso de San Antonio (Requena). 1750-1920

San Antonio, actual pedanía de 2.100 hb situada a 5 km de la ciudad de Requena, es un ejemplo de transformación del paisaje por efecto de la colonización humana. En 1752 poblaban esta partida dos docenas de familias de labradores, jornaleros y pastores repartidos en una veintena de casas dispersas por la campiña. La propiedad de la tierra estaba en manos de una docena de terratenientes forasteros y del concejo municipal de Requena. La superficie cultivada ascendía a uno 600 almudes de regadío y 1.000 de secano. Cien años más tarde había 730 en riego y 3.700 en secano. Este incremento estuvo acompañado de una expansión del viñedo y los cereales, a costa de pastizales y baldíos, y de una distribución y traspaso parcial de la propiedad de la tierra a manos de los colonos que se multiplicaron por diez en poco más de un siglo. Las causas que propiciaron aquella transformación fueron básicamente dos: la desamortización y venta de bienes concejiles y eclesiásticos, y la proliferación de contratos de plantación de viña a medias, mediante los cuales decenas de jornaleros lograron hacerse con una pequeña propiedad vitícola.

Antonio Salieri's La calamita de' cuori (1774): Sources, Form, Context

Antonio Salieri’s La calamita de’ cuori (1774) warrants musicological attention for what it can tell us about Salieri’s compositional craft and what it reveals about the development of form in Viennese Italian-language comic opera of the mid- and late-eighteenth century. In Part I of this dissertation, I explore the performance history of La calamita, present the first plot synopsis and English translation of the libretto, and describe the variants between Carlo Goldoni’s 1752 libretto and the revised version created for Salieri’s opera. I have collated Salieri’s holograph score, Österreichische Nationalbibliothek, Vienna, Mus. Hs. 16.508, with four copies having different relationships to it, and I propose a stemma that represents the relationships between these five sources. The analyses in Part II contribute to our understanding of formal practices in eighteenth-century drammi giocosi. My study of Salieri’s La calamita reveals his reliance on a clearly defined binary structure, referred to in this dissertation as “operatic binary form,” in almost half of the arias, ensembles, and instrumental movements of this opera. Salieri’s consistent use of operatic binary form led me to explore its use in drammi giocosi by other prominent composers of this time, including Baldassare Galuppi’s La calamita de’ cuori (1752), Wolfgang Amadeus Mozart’s Il dissoluto punito, ossia Il Don Giovanni (1787), and selected arias by Pasquale Anfossi, Florian Leopold Gassmann, Giuseppe Gazzaniga, Franz Joseph Haydn, Giovanni Paisiello, and Niccolò Piccinni dating from 1760 to 1774. This study showed that Salieri and his peers adhered to a recognizable tonal plan and set of design elements in their operatic binary forms, and that their arias fall into three distinct categories defined by the tonality at the beginning of the second half of the binary structure. The analysis presented here adds to our present understanding of operatic form in mid- and late-century drammi giocosi and shows that in La calamita de’ cuori, Salieri was following the normative formal procedures of his time.

Alvará com força de Ley, por que Vossa Magestade ha por bem renovar a inteira, e inviolavel observancia da Ley de doze de setembro de mil seiscentos cincoenta e tres, em quanto nella se estabeleceo, que os indios do Graõ Pará, e Maranhaõ sejão governados no temporal pelos Governadores, Ministros, e pelos seus principaes, e justiças seculares, com inhibição das administrações dos regulares, derogando todas as Leys, Regimentos, Ordens, e Disposições contrarias : para V. Magestade ver / Antonio José Galvão o fez

Coleção Marcio Moreira Alves.

Salieri Speaks: Peter Shaffer's two version of Amadeus

Eguíluz, Federico; Merino, Raquel; Olsen, Vickie; Pajares, Eterio; Santamaría, José Miguel (eds.)

Collecção da legislação portugueza : desde a ultima compilação das ordenações

"Com licença da meza do desembargo do Paço'