Search results for " Niccolò Jommelli"
showing 3 items of 3 documents
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…
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…