Good job, here an useful time index 😊 First music 0:00:03 1, Prelude 0:01:40 2, Hornpipe Second music 0:02:41 3, Air 0:04:03 4, Rondeau Act I 0:05:39 5, Ouverture 0:07:10 6, Duet "Come, let us leave the Town" 0:09:55 7, Solos & Chorus, The Drunken Poet "Fill up the Bowl..." 0:16:13 8, Jig (Intermezzo) Act II 0:17:21 9a, Prelude 0:17:49 9b, Solo "Come all ye Songsters" 0:19:30 10, The birds 0:20:45 11, Trio "May the God of Wit" 0:22:04 12, Echo 0:23:57 13a, Chorus "Now join your Warbling Voices" 0:24:29 13b, Solo & Chorus "Sing while we trip it" 0:26:40 14, Night "See, even Night" 0:31:47 15, Mystery "I am come" 0:33:25 16, Secresy "One charming Night" 0:35:51 17, Sleep "Hush, no more" 0:40:06 18, Dance for the followers of the Night 0:41:46 19, Air (Intermezzo) Act III 0:43:20 20, Song & Chorus "If Love's a Sweet Passion" 0:48:42 21, Symphony while the swans come forward 0:51:04 22, Dance for the Fairies 0:51:45 23, Dance for the Green Man 0:53:26 24, Song "Ye gentle Spirits of the air" 0:59:02 25, Dialogue between Coridon and Mopsa 1:02:52 26, Dance for the Haymakers 1:03:47 27, A Nymph "When I have often heard" 1:06:16 28, Song and Chorus "A Thousand Thousand ways" 1:08:18 29, Hornpipe (Intermezzo) Act IV 1:09:28 30, Symphony 1:15:39 31, Solo and Chorus "Now the Night" 1:17:43 32, Duet "Let the Fifes, and the Clarions" 1:19:00 33, Entry of Phoebus 1:19:32 34, Song "When a Cruel long Winter" 1:22:25 35, Chorus "Hail! Great Parent" 1:24:24 36, Spring "Thus the ever Grateful" 1:26:25 37, Summer "Here's the Summer Sprightly Gay" 1:28:12 38, Autumn "See my many Colour'd Fields" 1:31:30 39, Winter "Now Winter comes Slowly" 1:34:37 35 Again, Chorus "Hail! Great Parent" 1:36:11 40, Air (Intermezzo) Interlude 1:37:25 43, Song "The Plaint" Act V 1:45:17 41, Prelude 1:46:35 42, Epithalamium "Thrice happy Lovers" 1:49:27 44, Entry Dance 1:50:52 45, Symphony 1:51:59 46, Song "Thus the Gloomy World" 1:56:46 47, Solo and Chorus "Thus happy and free" 1:58:04 48, Song "Yes, Daphne" 2:00:41 49, Monkey's dance 2:01:42 50, Song "Hark, how all things" 2:03:49 51, Song and Chorus "Hark! The Ech'ing Air" 2:06:16 52, Soli, Trio and Chorus "Sure the dull God" 2:09:17 53a, Prelude 2:10:04 53b, Hymen "See, I obey" 2:11:50 53c, Duet "Turn thine eyes" 2:13:18 53d, Hymen "My torch indeed" 2:14:11 53e, Trio and Chorus "They shall be as happy" 2:16:21 54, Chaconne, Dance for Chinese Man and Woman 2:18:55 The end
Music is comfy as hell, and this is a stellar tool for studying the music (thank you for the effort you put into these), but damn is the libretto insipid as all-get-out next to Dido & Aeneas, or even next to King Arthur. Haha And looking up the full libretto, with the talking parts too, just makes it more nonsensical!
Great music, silly words. Common in the Restoration and the Grand Siècle, for very similar reasons. Makes you appreciate Purcell, Blow, Lully, de la Lande and Charpentier all the more. (And noticeable how Purcell and Charpentier in particular raise their game to even higher levels when given genuinely good words to play with.)
Syncing is always shorter than the video itself. The bigger work is cutting the score, which is very fast when the score is well engraved and well scanned, as in this case. So I think creating this video didn't take me more time than its current duration. :)
The pitch the orchestra is using isn't the standard pitch (A4=440/442 Hz) classical ensembles use today, but rather a lower one (as to emulate the historical pitches of the repertoire they're executing). That said, one tone below modern pitch would roughly equate to A4=392 Hz
@@stefanocrosazzo3262 I see where you're coming from, but temperament alone has a smaller impact on pitch than what is happening with this recording to 'modern ears'. Example: comparing the transposition of equal temperament a=440 to any meantone on a=415 and to equal emperament on a=415 would indeed result in different pitches for every note (aside from A), but not enough to not perceive in any case both transpositions as (roughly) ½tone down, (although for different notes different ½tones, this is true). I think the confusion here present stems from the fact that it is already expected nowadays of baroque music to be performed at A=415, while other pitches are less standardized (beginning to be so). Such is the case with this recording, as they're tuning written A4 to roughly 392 Hz (more or less 1 tone down from 440, not the expected ½ tone of 415)
Good job, here an useful time index 😊
First music
0:00:03 1, Prelude
0:01:40 2, Hornpipe
Second music
0:02:41 3, Air
0:04:03 4, Rondeau
Act I
0:05:39 5, Ouverture
0:07:10 6, Duet "Come, let us leave the Town"
0:09:55 7, Solos & Chorus, The Drunken Poet "Fill up the Bowl..."
0:16:13 8, Jig (Intermezzo)
Act II
0:17:21 9a, Prelude
0:17:49 9b, Solo "Come all ye Songsters"
0:19:30 10, The birds
0:20:45 11, Trio "May the God of Wit"
0:22:04 12, Echo
0:23:57 13a, Chorus "Now join your Warbling Voices"
0:24:29 13b, Solo & Chorus "Sing while we trip it"
0:26:40 14, Night "See, even Night"
0:31:47 15, Mystery "I am come"
0:33:25 16, Secresy "One charming Night"
0:35:51 17, Sleep "Hush, no more"
0:40:06 18, Dance for the followers of the Night
0:41:46 19, Air (Intermezzo)
Act III
0:43:20 20, Song & Chorus "If Love's a Sweet Passion"
0:48:42 21, Symphony while the swans come forward
0:51:04 22, Dance for the Fairies
0:51:45 23, Dance for the Green Man
0:53:26 24, Song "Ye gentle Spirits of the air"
0:59:02 25, Dialogue between Coridon and Mopsa
1:02:52 26, Dance for the Haymakers
1:03:47 27, A Nymph "When I have often heard"
1:06:16 28, Song and Chorus "A Thousand Thousand ways"
1:08:18 29, Hornpipe (Intermezzo)
Act IV
1:09:28 30, Symphony
1:15:39 31, Solo and Chorus "Now the Night"
1:17:43 32, Duet "Let the Fifes, and the Clarions"
1:19:00 33, Entry of Phoebus
1:19:32 34, Song "When a Cruel long Winter"
1:22:25 35, Chorus "Hail! Great Parent"
1:24:24 36, Spring "Thus the ever Grateful"
1:26:25 37, Summer "Here's the Summer Sprightly Gay"
1:28:12 38, Autumn "See my many Colour'd Fields"
1:31:30 39, Winter "Now Winter comes Slowly"
1:34:37 35 Again, Chorus "Hail! Great Parent"
1:36:11 40, Air (Intermezzo)
Interlude
1:37:25 43, Song "The Plaint"
Act V
1:45:17 41, Prelude
1:46:35 42, Epithalamium "Thrice happy Lovers"
1:49:27 44, Entry Dance
1:50:52 45, Symphony
1:51:59 46, Song "Thus the Gloomy World"
1:56:46 47, Solo and Chorus "Thus happy and free"
1:58:04 48, Song "Yes, Daphne"
2:00:41 49, Monkey's dance
2:01:42 50, Song "Hark, how all things"
2:03:49 51, Song and Chorus "Hark! The Ech'ing Air"
2:06:16 52, Soli, Trio and Chorus "Sure the dull God"
2:09:17 53a, Prelude
2:10:04 53b, Hymen "See, I obey"
2:11:50 53c, Duet "Turn thine eyes"
2:13:18 53d, Hymen "My torch indeed"
2:14:11 53e, Trio and Chorus "They shall be as happy"
2:16:21 54, Chaconne, Dance for Chinese Man and Woman
2:18:55 The end
Bro I thought there were be like 33 comments here
Wonderful job, what a joy to find this first thing in the morning!
16:13 Don't mind me, I was searching for the score of the Jig in this opera for a while and finally found it.
Music is comfy as hell, and this is a stellar tool for studying the music (thank you for the effort you put into these), but damn is the libretto insipid as all-get-out next to Dido & Aeneas, or even next to King Arthur. Haha
And looking up the full libretto, with the talking parts too, just makes it more nonsensical!
Great music, silly words. Common in the Restoration and the Grand Siècle, for very similar reasons. Makes you appreciate Purcell, Blow, Lully, de la Lande and Charpentier all the more. (And noticeable how Purcell and Charpentier in particular raise their game to even higher levels when given genuinely good words to play with.)
Thanks for this once again! How long does it take you to create a video with piece like this, that has more than 2 hours?
Syncing is always shorter than the video itself. The bigger work is cutting the score, which is very fast when the score is well engraved and well scanned, as in this case. So I think creating this video didn't take me more time than its current duration. :)
Amazing performance!
Yes! Thank you!
Requesting Purcell's The History of Dioclesian, since every other full upload of it has ads interrupting the music.
It will have ads even if upload it, as any other of my videos. :)
It would still be an improvement to have an upload with the sheet music on this site. This channel is a gold nugget.
Based.
I think the only time I’ve seen a piano reduction next to a fully arranged score is this piece and the 1812 Overture banda part.
It's actually quite common for Baroque works, every Rameau's piece published and edited by Saint-Saens is like this. :)
@@SPscorevideos Ah I see. That's very interesting, guess that means I should study more scores haha. Thanks for the insight.
Hey, if you can or when you can, could you do "die Zauberflöte" by Mozart?
I thought all Mozart's operas were already online... it turns up they are not. I'll consider that, but I can't promise you anything :)
I got to say...I do not like long compositions that are in English or French but for some reason, THIS? this is different.
too much ads
I've got no power against that! :/
8:15
The rubbish american ads that keep interrupting……. The depravity of capitalism.
cuz communism is better
Why is F minor in the opening instead of G minor written in the score?
Because in the past people did not tuned A=440Hz but lower. So G in baroque sounds F today.
The pitch the orchestra is using isn't the standard pitch (A4=440/442 Hz) classical ensembles use today, but rather a lower one (as to emulate the historical pitches of the repertoire they're executing). That said, one tone below modern pitch would roughly equate to A4=392 Hz
@@yjoon3210 Don’t you mean G sounds F#, F-natural is too low, isn’t it?
@@douglasyiuchinglok307 if you use A=415 yes, but that's not the only type of tuning used in ancient music. Meantone is a very complicated matter
@@stefanocrosazzo3262 I see where you're coming from, but temperament alone has a smaller impact on pitch than what is happening with this recording to 'modern ears'. Example: comparing the transposition of equal temperament a=440 to any meantone on a=415 and to equal emperament on a=415 would indeed result in different pitches for every note (aside from A), but not enough to not perceive in any case both transpositions as (roughly) ½tone down, (although for different notes different ½tones, this is true).
I think the confusion here present stems from the fact that it is already expected nowadays of baroque music to be performed at A=415, while other pitches are less standardized (beginning to be so). Such is the case with this recording, as they're tuning written A4 to roughly 392 Hz (more or less 1 tone down from 440, not the expected ½ tone of 415)
01:45:30 funky bass