Search results for " Jommelli"

Manoscritti del Settecento napoletano nel fondo musicale della Cattedrale di Piazza Armerina

Tra sé. Funzioni e tecniche del “cantare a parte” in Jommelli

2018

Singing "a parte" is a specific device of the theatrical and operatic communication. The first part of the article discusses the theorical and performative problems involved in the use of phrases said "tra sé" in musical numbers as reflected in eighteenth- end nineteenth-century treatises. The second part examines some examples taken from Jommelli's works, both serious and comic, in order to identify recurrent technics and features.

«La speranza de’ regni». Celebrazione e spettacolo in tre 'feste' napoletane: Paisiello (1768), Jommelli (1772), Cafaro (1775)

2011

The genre of 'festa teatrale' had a large diffusion and a great social and political importance in the Neapolitan culture of the Eighteenth Century. The article examines three main examples, created in connection with crucial dynastic events: the marriage of the young king Ferdinand IV with Maria Carolina of Absburg in 1768, the birth of their first daughter in 1772, and the birth of their first son (and hereditary prince) in 1775. The librettos and the scores are analyzed in detail, with a specific focus on allegorical and celebratory features.

Appunti sui libretti per musica di Gioacchino Pizzi

2017

In recent years historians of the literature, culture and sociality of the academies have shown a renewed interest in Gioacchino Pizzi (Nivildo Amarinzio), who was the Custode of Arcadia from 1772 to 1790. On the other hand, there have been no specific studies of his relations with the world of music. The first part of the article offers a first inventory of Nivildo’s printed libretti, belonging to the genres of encomiastic cantata, sacred composition and dramma per musica. The second part illustrates the ideas on Italian and French theatre expounded by Pizzi in his "Ragionamento sulla tragica e comica poesia" (1772). It also reconstructs his relationship with Pietro Metastasio, and explore…

Anfione e Nivildo. Nota sui rapporti di Niccolò Jommelli con l'arcade Gioacchino Pizzi

2017

The Roman poet Gioacchino Pizzi (1716-1790) was a leading figure of the Accademia dell’Arcadia in the second half of the Eighteenth Century. His relationship with the composer Niccolò Jommelli (1714-1774) is investigated for the first time. Their collaboration started in 1751 in the occasion of the creation of a “componimento drammatico” for the birthday of King Joseph I of Portugal. They worked together again in 1757, when they wrote “Il Creso”, a three-acts opera performed at the Teatro di Torre Argentina. The friendship between the man of letters and the musician is clearly described in Pizzi’s undated ode “Per la venuta in Roma del celebre maestro di cappella il signor Niccolò Jommelly”…

Elogio del Jommelli

2022

Saverio Mattei (1742-1795) had a multifaceted personality. Born in Calabria but educated in Naples, he devoted himself to law and held important administrative positions. At the same time, he cultivated numerous cultural interests with inexhaustible enthusiasm: he was a translator of biblical psalms, a theorist of classical and modern dramaturgy, an author and reviser of librettos, a correspondent of Pietro Metastasio and the founder of the music library of the Conservatorio della Pietà de’ Turchini. His "Elogio del Jommelli o sia Il progresso della poesia e della musica teatrale" was printed for the first time in 1784 and published again one year later with a few but interesting variants. …

«Bella mia fiamma, addio / Resta, o cara» tra Jommelli e Mozart: osservazioni e ipotesi sull’aria K. 528

2012

Mozart wrote the scena and aria K. 528 in Prague in 1787 for the singer Josepha Duschek. As previously known, this wonderful page is based on a text taken from “Cerere placata”, a “festa teatrale” created in Naples in 1772 by the man of letters and scientist Michele Sarcone and the renowned “maestro di cappella” Niccolò Jommelli to celebrate the birth of the first daughter of king Ferdinand IV of Bourbon. The article reconstructs in detail the circumstances of the Neapolitan performance, and shows that Jommelli’s setting of Titano’s recitative and aria “Bella mia fiamma, addio” / “Resta, o cara; acerba morte” enjoyed a large success and circulated as an autonomous piece. A comparison betwee…