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See also:YON (1822-1847) , See also:German poet, was See also:born on the 13th of See also:March , spent a considerable See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time at See also:Rome about this See also:period, since his
cantatas and other compositions contain frequent allusions to Rome and See also:noble See also:Roman families. There is, however, no See also:- PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)
proof that he ever performed the See also:oratorio S. Giovanni Battista in the Lateran. Documents in the archives at See also:Turin relate that in 1677 he arrived there with the See also:mistress of Alvise See also:Contarini, with whom he had eloped from See also:Venice. Contarini demanded that both should be given up to him, or failing that, that See also:Stradella should not be allowed to exercise his profession until the See also:lady had been either placed in a See also:convent or made his legitimate wife. Stradella was protected by the See also:regent of See also:Savoy, the duchess Giovanni Battista de See also:Nemours, and the Contarini See also:family, indignant at his audacity, sent two hired assassins to Turin, by whom Stradella was wounded but not murdered. We hear of Stradella last at See also:Genoa. An See also:opera by him, La Forza dell' amor See also:paterno, was given there in 1678, and his last See also:composition, Il Barcheggio (i.e. a " See also:Water-See also:Music "), was performed on the 16th of See also:June 1681 in See also:honour of the See also:marriage of Carlo See also:Spinola and Paola Brignole, which was solemnized on the 6th of See also:July of the same See also:year. Documents in the archives at See also:Modena inform us that in See also:February 1682 Stradella was murdered at Genoa by three See also:brothers of the name of Lomellini, whose See also:sister he had seduced.
It is extremely improbable that Stradella had any See also:great reputation as a See also:singer, since the great See also:Italian singers of the 17th See also:century were almost exclusively castrati; but he may well have been a teacher of singing, and he appears to have instructed his lady pupils in Genoa on the See also:harpsichord. He is principally important as a composer of operas and chamber-cantatas, although compared with his contemporaries his output was small. In spite of his dissolute See also:life his command of the technique of composition was remarkable, and his See also:gift of melodic invention almost equal to that of A. See also:Scarlatti, who in his See also:early years was much influenced by Stradella. His best operas are Il Floridoro, also known as Il See also:Moro per amore, and Il Tres See also:polo tutore, a comic opera in three acts which worthily carried on the best traditions of Florentine and Roman comic opera in the 17th century. His See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church music, on which his reputation has generally been based, is of less importance, though the well-known oratorio S. Giovanni Battista displays the same skill in construction and orchestration (so far as the limited means at his disposal permitted) as the operas. A serenata for voices and two orchestras, Qual prodigo ch'io, miri, was used by See also:Handel as the basis of several See also:numbers in See also:Israel in See also:Egypt, and was printed by Chrysander (See also:Leipzig, 1888); the MS., however, formerly in the See also:possession of See also:Victor Schoelcher, from which Chrysander made his copy, has entirely disappeared. The well-known See also:aria Pietd, signore, also sung to the words Se i ,niei sospiri, cannot possibly be a See also:work of Stradella, and there is every See also:reason to suppose that it was composed by See also:Fetis, Niedermeyer or See also:Rossini.
The finest collection of Stradella's See also:works extant is that at the Biblioteca Estense at Modena, which contains 148 See also:MSS., including four operas, six oratorios and several other compositions of a semi-dramatic See also:character. A collection of cantate a voce sola was bequeathed by the Contarini family to the library of St See also:Mark at Venice; and some MSS. are also preserved at See also:Naples and in See also:Paris. Eight madrigals, three duets, and a See also:sonata for two violins and See also:bass will be found among the Additional Iv1SS._at the See also:British Museum, five pieces among the Harleian MSS., and eight cantatas and a See also:motet among those in the library at See also:Christ Church, See also:- OXFORD
- OXFORD, EARLS OF
- OXFORD, EDWARD DE VERE, 17TH EARL
- OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
- OXFORD, PROVISIONS OF
- OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
- OXFORD, ROBERT HARLEY, 1ST
Oxford. The See also:Fitzwilliam Museum at See also:Cambridge possesses a large number of his chamber-cantatas and duets.
See also Heinz See also:Hess, See also:Die Opera Alessandro Stradellas (Leipzig, 1905), which includes the most See also:complete See also:catalogue yet made of Stradella's extant works; Catelani, Delle Opere di A. Stradella instenti See also:Hell' archivio musicale della r. biblioteca palatina di Modena (Modena, 1865); and See also:Sedley See also:- TAYLOR
- TAYLOR, ANN (1782-1866)
- TAYLOR, BAYARD (1825–1878)
- TAYLOR, BROOK (1685–1731)
- TAYLOR, ISAAC (1787-1865)
- TAYLOR, ISAAC (1829-1901)
- TAYLOR, JEREMY (1613-1667)
- TAYLOR, JOHN (158o-1653)
- TAYLOR, JOHN (1704-1766)
- TAYLOR, JOSEPH (c. 1586-c. 1653)
- TAYLOR, MICHAEL ANGELO (1757–1834)
- TAYLOR, NATHANIEL WILLIAM (1786-1858)
- TAYLOR, PHILIP MEADOWS (1808–1876)
- TAYLOR, ROWLAND (d. 1555)
- TAYLOR, SIR HENRY (1800-1886)
- TAYLOR, THOMAS (1758-1835)
- TAYLOR, TOM (1817-1880)
- TAYLOR, WILLIAM (1765-1836)
- TAYLOR, ZACHARY (1784-1850)
Taylor, The Indebtedness of Handel to other Composers (Cambridge, 1906).
End of Article: YON (1822-1847)
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