![]() Aumento de su insidia o deseo de intoxicarse con la substancia de su preferencia o con más benzodiacepinas.Ģ. Generalmente, esa intoxicación resulta en:ġ. Uso de benzodiacepinas en pacientes con historial de dependencia a substancias Could this be a uniquely Puerto Rican term?Īfter much digging, I found an article on benzodiazepine use in psychiatric patients that seems to relate "insidia" to substance dependency: All the Spanish medical & psychological/psychiatric dictionaries I've consulted have had "insidioso" but not "insidia". ![]() This term is on a Puerto Rican psychiatric evaluation form which is essentially a checklist of symptoms, behaviors, manifestations, etc., so there really is no good surrounding context to draw from. Medical - Medical (general) / Patient chart/progress notes Social Science, Sociology, Ethics, etc.General / Conversation / Greetings / Letters.The original manuscript for the complete oratorio can be found at the Österreichische Nationalbibliothek, Vienna (Mus.Hs. Smither (New York: Garland Publishing, 1986) and in Ursula Kirkendale, Antonio Caldara: Sein Leben und seine venezianish-römischen Oratorien (Wiener Musikwissenschaftliche Beiträge, Graz: Herman Böhlaus Nachf., vol.6, 1966). Smither, eds., La decollazione di San Giovanni Battista Antonio Maria Bononcini La Passione di Gesù Christo Signor Nostro Antonio Caldara, introductions by Howard E. More information on Caldara and his use of the trombone in Viennese oratorios can be found in Stewart Carter's article entitled "Trombone Obbligatos in Viennese Oratorios of the Baroque" in the Historic Brass Society Journal (vol. Both alto and tenor trombone remain in their respective clefs. The only alteration from the manuscript was to place the soprano voice in treble clef, a consideration made for the sake of modern performance. There were no figured bass symbols in the original manuscript. two trombonists and one singer, and as a result could easily be performed in an informal setting or in a more formal one, perhaps in church or on a recital. Quell'amor was written for three soloists, i.e. I forget myself to be daughter and it softens me towards every torment to put aside the faith in him." Io mio scordo d'esser figlia e me'e lieve ogni martoro per serbar a lui la fe." Translated, the text becomes "That love which counsels me to betray a God I adore is a trap. The text reads: "Quell'amor che mi consiglia a tradir un Dio adoro e un insidia, amor non e no, no amor non e. Often, as is the case with Quell’amor, they told an Old Testament story, but were enfleshed by including New Testament implications. They were always based on Biblical texts, but were also considerably expanded into a type of musical passion play. the tomb of Jesus in Jerusalem) temporarily constructed in one of the Royal chapels. These works were called "Sepolcro" as they were to be staged in front of a replica of the Holy Sepulchre (i.e. Frequently occurring at the high theological point in the Sepolcro, there is a solo aria with trombone obbligato, representing the voice of God. These Sepolcro were generally one-act oratorios. A typical Viennese "Sepolcro", it was one of dozens of such works commissioned by the Austrian Habsburg royal family for a Holy Week performance during the culmination of Lent leading to Easter. This aria, Quell’amor, is taken from Santa Ferma, composed in 1717. His works include over 3,000 compositions, mainly vocal ones, one of the largest outputs of his era. From 1716 until his death Caldara worked as vice-Hofkapellmeister in Vienna. From 1709 to 1716 he worked in Rome for Prince Ruspoli as maestro di cappella. He then worked for the Duke of Mantua between 16 as maestro di cappella da chiesa e dal teatro. Mark’s, Venice, becoming proficient on viol, cello, and keyboard. To download the sample score click on the link belowĪntonio Caldara (b Venice, c1670 d Vienna, 28 December 1736) began his career in the choir at St.
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