The Puzzle of Dreseden's Collection of Sacred Music by Baldassare Galuppi 'Detto Buranello' (1706-1785)
Conservatorium of Music
This event is part of the Louise Hanson-Dyer Music Colloquia series.
This series of colloquia perpetuates the legacy and cultural impact of Melburnian music patron and publisher Louise Hanson-Dyer (1884–1962) – founder of Éditions de l’Oiseau-Lyre – by bringing cutting-edge issues in music research to a public forum for discussion and debate.
Robert Browning's evocative poem A Toccata of Galuppi's (1855) probably led to this Venetian composer being better known in literary rather than musical circles. Yet, in the mid 18th century, Galuppi's music both sacred and secular was feted throughout Europe, England, and as far north as Russia. In Dresden by 1756 seven of Galuppi's operas had been performed at the famed opera house, whereas in 1765 at least 73 sacred works attributed to him were entered into the music catalogue of the recently built Catholic court church (Hofkirche). Investigations into the purpose of this somewhat mystifying collection of sacred music have revealed the deviousness of the Venetian copyist and supplier, Iseppo Baldan, while the original destination of these sacred works might not have been Dresden (as previously thought) but Warsaw, where the King of Poland and Elector of Saxony, August III, was sent into exile at the outbreak of the Seven Years War by Frederick (the Great) of Prussia.