Méthode de chant du Conservatoire de Musique - Mengozzi, Bernardo 1758-1800 (Paris Conservatoire de musique, 1803)
Largely the work of Bernardo Mengozzi, a member of the commission for preparing the Méthod de chant (cf. Avertissement)
Contains many musical examples by various composers, ranging in length from a few measures of recitative to complete solfèges and arias in vocal score.The recitatives are by Sacchini (p. 68), Glu[c]k (p. 68-69), and Piccinni (p. 69-70).The solfèges are by P.P. Colonna (p. 86-87), Bononcini (p. 88-89), Benedetto Marcello (p. 90-91), Hasse (p. 92-94), Galuppi (p. 95-97), Porpora (p. 98-99), A. Scarlatti (p. 100-01), Caffaro [i.e. Cafaro] (p. 102-105), L. Vinci (p. 106-107), L. Leo (p. 108-109), Traetta (p. 110-113), N. Conforto (p. 114-115), D. Alberti (p. 116-117), Jom[m]elli (p. 118-123), Gasparini (p. 124-125), G. Latilla (p. 126-128), Piccinni (p. 129-132), Pergolese (p. 132-133), Manna (p. 134-135), N. Sala (p. 136-138), F. Maio [i.e. Gian Francesco Majo?] (p. 138-143), Costanzi (p. 144-145), Terradellas (p. 146-148), Perez (p. 148-50), M. Vento (p. 150-153), Cimarosa (p. 154-159), G.C. [i.e. Johann Christian] Bach (p. 159-162; this is "Chiari fonti" from the Bach/Guglielmi arrangement of Gluck's Orfeo, without its orchestral introduction and coda; Terry p. 234, no. 2), Sacchini (p. 162-165), Anfossi (p. 165-168), and Sarti (p. 168-172).The "Choix d'airs de différens caractères" are by Hasse (p. 174-178), L. Leo (p. 178-179 and 188-191), A. Hasse (p. 180-182), Jom[m]elli (p. 182-187, 220-227, 228-232, 236-241, and 254-257), P. Caffaro [i.e. Cafaro] (p. 192-195), N. Piccinni (p. 195-199 and 208-212), A. Sacchini (p. 200-203, 213-219, 232-235, and 268-273), G. [i.e. Johann Christian] Bach (p. 204-207; "La sorte mia spietata," Terry, p. 251, no. 4 (mistranscribed)), S. Sarti (p. 242-247), D. Cimarosa (p. 248-253 and 286-290), J. Maio [i.e. Gian Fancesco Majo or Giuseppe de Majo] (p. 258-263 and 280-285), B. Galuppi (p. 264-267), and T. Traetta (p. 274-279).
Ex libris Anaïs Vitton (ms.)
contenant les principes du chant, des exercices pour la voix, des solfèges tirés des meilleurs ouvrages anciens et modernes et des airs dans tous les mouvemens et les différens caractères
Keywords: Conservatoire de Paris (France); 19th Century (1801-1900); Music education; Method; Singer; Singing; Paris (France); ad lib bezetting; ademhalen; appoggiatura; artikulatie; Bach, J.Chr.; boekprijs; Bononcini; cadens; cello; Cherubini; Cimarosa; Nardini; notatieproblemen; Corelli, A; cresc./decresc.; oud-nieuw; oude muziek vroeger; Ozi; diminuties; Perez; dubbelslag; Piccinni; dynamiek; emoties; portamento; publiek; solmisatie; fondscatalogus; Frans-Italiaans; frasering; Galuppi, B; Tartini; Gasparini; tekstuitspraak; Geminiani; tempo; tempo van triller; Terradellas; Gluck; goût; harp; Hasse; Vinci, L; hoorn; Italiaanse invloed in Frankrijk; Jomelli; klarinet; klavecimbel_19e eeuw; zuiverheid; recitatief; recitatief en appoggiatura; ribattutta; lamento