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A Baroque form of concerto, with a group of solo instruments Da capo aria: from the head aria: A three-section musical form Dramma giocoso: jocular drama: A form of opera Dramma per musica: drama for music: Libretto Fantasia: fantasy: A musical composition or “idea” typified by improvisation Farsa: farce: A one-act comical opera Festa ...
Sfogliatelle (Italian sfogliatella, pl. sfogliatelle; from sfoglia 'thin layer') Sorbet (through French from Italian sorbetto, which in turn comes from Turkish, Persian and Arabic) Spaghetti (Italian: spaghetto, pl. spaghetti) Spumoni (Italian: spumone, pl. spumoni) Sultana (in Italian is the female of 'sultan'; the grape is called sultanina)
The term a prima vista is also used, as Italian words and phrases are commonly used in music and music notation. To play a musical piece a prima vista means to play it 'at first sight'. According to Payne, "the ability to hear the notes on the page is clearly akin to music reading and should be considered a prerequisite for effective ...
No autographs or early Italian-period copies 164a Il Gelsomino or Son Gelsomino London, c. 1725–28 164b Il Gelsomino or Son Gelsomino London, c. 1717–18 165 Spande ancor a mio dispetto Italy, 1707–08 166 Splenda l'alba in oriente London, c. 1711–12 Survives only in fragmentary form. 167a Stanco di più soffrire Italy, 1707–08 167b
Italian verbs have a high degree of inflection, the majority of which follows one of three common patterns of conjugation. Italian conjugation is affected by mood, person, tense, number, aspect and occasionally gender. The three classes of verbs (patterns of conjugation) are distinguished by the endings of the infinitive form of the verb:
Italian-suited cards are rarely found outside of Northern Italy. In the past, however, tarot cards based on those from Milan, the Tarot of Marseilles , spread to France and Switzerland in the 16th century and later to Austria and parts of Western Germany in the 18th century before being replaced by French-suited tarots during the 18th and 19th ...
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Italian Rococo, inspired by Borromini's ideas, thrived in Rome from the 1720s. Talented architects like Francesco de Sanctis ( Spanish Steps , 1723) and Filippo Raguzzini ( Piazza Sant'Ignazio [it], 1727) – had limited influence outside of Italy, as did Sicilian Baroque architects such as Giovanni Battista Vaccarini , Andrea Palma , and ...
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