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 Niccoló Jommelli

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MensajeTema: Niccoló Jommelli   Mar Feb 19, 2008 12:14 am

Wikipedia :

"Niccolò Jommelli (September 10, 1714 – August 25, 1774) was an Italian composer.

Jommelli was born to Francesco Antonio Jommelli and Margarita Cristiano in Aversa, a town some 20 kilometres north of Naples. He had one brother Ignazio, who became a Dominican monk and helped the composer in his old age, and three sisters. His father was a prosperous linen merchant, who entrusted Jommelli to the choir director of the cathedral, Canon Muzzillo. As he had shown talent for music Jommelli was enrolled after in 1725 at the Conservatorio di Santo Onofrio a Capuana in Naples, where he studied under Ignazio Prota and Francesco Feo. Three years later he was transferred to the Conservatorio di Santa Maria della Pietà dei Turchini, where he was trained under Niccolò Fago, having Don Giacomo Sarcuni and Andrea Basso, as second maestri, that is, singing teachers (maestri di canto).

His first opera, the comedy "L’errore amoroso", was presented, with great success, under the protection of the Marquis del Vasto, Giovanni Battista d’Avalos, the winter of 1737 in the Teatro Nuovo of Naples. It was followed in the next year by a second comic opera, Odoardo, in the Teatro dei Fiorentini. His first serious opera Ricimero rè de’ Goti, presented in the Roman Teatro Argentina in January 1740, brought him to the attention and then the protection of the Duke of York, Henry Benedict. The duke would later be raised to the rank of cardinal and procure Jommelli an appointment at the Vatican. During the 1740s Jommelli wrote operas for many Italian cities: Bologna, Venice, Turin, Padua, Ferrara, Lucca, Parma, along with Naples and Rome. When in Bologna in 1741, for the production of his "Ezio", Jommelli (in a situation blurred with anecdotes) met Padre Martini. Saverio Mattei said that Jommelli studied with Martini, and acknowledged to have learned with him ‘the art of escaping any anguish or aridity’. Nevertheless, Jommelli’s constant travelling in order to produce his many operas seems to have prevented him from ever having any lessons on a regular basis. Moreover, Jommelli’s relationship with Martini was not without mutual criticism. The main result of his stay in Bologna and his acquaintance with Martini was to present to the Accademia Filarmonica of that city for the procedures of admission, his first known church music, a five-voice fugue a cappella, on the final words of the small doxology, the ‘Sicut Erat’. The musicologist Gustav Fellerer, who examined several such works testifies that Jommelli’s piece, though being just ‘a rigid school work’, could well rank among the best admission pieces now stored in the Bolognese Accademia Filarmonica.

During the early 1740s Jommelli wrote an increasing amount of religious music, mainly oratorios, and his first liturgical piece still extant, a very simple "Lætatus sum" in F major dated 1743, is held in the Santini collection in Münster. The appointment of Jommelli, recommended by Hasse, as maestro di cappella to the Ospedale degl’ Incurabili in Venice is not definitively documented. However, in 1745 he did start writing religious works for women’s choir to be performed in the church of the Incurabili, San Salvatore, a duty that was -- together with the tuition of the more advanced students of the institution -- part of the chapel master’s obligations. There are no autographs of Jommelli’s music composed for the Incurabili, but there are many copies of different versions of several of his works that may, with some certainty, be attributed to his period as maestro there. Among the music Helmut Hochstein lists as being composed for Venice, are to be found four oratorios: "Isacco figura del Redentore", "La Betulia liberata", "Joas", "Juda proditor"; some numbers in a collection of solo motets called Modulamina Sacra; one Missa breve in F major with its Credo in D major, probably a second mass in G major,47 one Te Deum, and five psalms.

Though some his earliest biographers, Mattei and Villarosa, give 1748 as the year when Jommelli gave up his employment in Venice, his last compositions for the Incurabili are from 1746. He must have left Venice at the very end of 1746 or at the beginning of the following year, because on 28 January 1747 Jommelli was staging at the Argentina theatre in Rome his first version of the "Didone abbandonata", and in May at San Carlo theatre in Naples a second version of "Eumene".

It was the need of an active chapel master for the basilica of Saint Peter’s in reaching for the Jubilee festival year that brought both Jommelli and David Perez to Rome in 1749. The Jubilee is a year-long commemoration which the Roman Catholic Church holds every fifty years. Therefore this was an important occasion for Roman aristocratic society to show off. Jommelli was summoned by the Cardinal Duke of York, Henry Benedict, for whom he wrote a Metastasian oratorio, "La Passione" — that continued to be played yearly in Rome — and who presented him to Cardinal Alessandro Albani, an intimate of Pope Benedict XIV.

(Further to be edited:) He subsequently visited Vienna before taking a post as Kapellmeister to Duke Karl-Eugen of Württemburg in Stuttgart in 1753. This period saw some of his greatest successes and the composition of what are regarded as some of his best works. Many were staged at the Duke's private theatres in the Palace of Ludwigsburg, outside Stuttgart. Mozart and his father passed through Ludwigsburg in 1763 and met the composer. Jommelli returned to Naples in 1768, by which time opera buffa was more popular than Jommelli's opera seria, and his last works were not so well received. He suffered a stroke in 1771 which partially paralysed him, but continued to work until his death three years later. He died in Naples.

Jommelli wrote cantatas, oratorios and other sacred works, but by far the most important part of his output were his operas, particularly his opere serie of which he composed around sixty examples, several with libretti by Metastasio. In his work, he tended to concentrate more on the story and drama of the opera than on flashy technical displays by the singers, as was the norm in Italian opera at that time. He wrote more ensemble numbers and choruses, and, influenced by French opera composers such as Jean-Philippe Rameau, he introduced ballets into his work. He used the orchestra (particularly the wind instruments) in a much more prominent way to illustrate the goings-on of the story, and wrote passages for the orchestra alone rather than having it purely as support for the singers. From Johann Adolph Hasse, he learnt to write recitatives accompanied by the orchestra, rather than just by a harpsichord. His reforms are sometimes regarded as equal in importance to Christoph Willibald Gluck's.

What you believe about him!? I according to me a genius!!! I believe it you heard much music already from him. I wait for the account of experiences like that, who Jommelli was an opera possibly on a lecture!"
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MensajeTema: Re: Niccoló Jommelli   Mar Feb 19, 2008 12:16 am

Aspasia escribió:
What you believe about him!? I according to me a genius!!!

Ruspoli adores him! Twisted Evil

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Ruspoli

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MensajeTema: Re: Niccoló Jommelli   Mar Feb 19, 2008 12:20 am

¿Meteoro habemus?
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MensajeTema: Re: Niccoló Jommelli   Mar Feb 19, 2008 12:21 am

Más bien parece un torpedo... de la pradera.

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MensajeTema: Re: Niccoló Jommelli   Mar Feb 19, 2008 12:24 am

He is a genius for me! I would have liked to express this!
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Aspasia



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MensajeTema: Re: Niccoló Jommelli   Mar Feb 19, 2008 12:25 am

Does not surprise, how likes it! He is a fantastic composer!
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Bellerofonte

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MensajeTema: Re: Niccoló Jommelli   Mar Feb 19, 2008 12:38 am

Aspasia escribió:
He is a genius for me! I would have liked to express this!

Don't you prefer Domingo Terradellas?

That fucking bastard called Jommelli stabbed him and dropped him to river Tiber afterwards.

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MensajeTema: Re: Niccoló Jommelli   Mar Feb 19, 2008 12:52 am

Terradellas . Artaserse opera is. Very good music, harm, that in a poor quality audible.

Teradellas: Artaserse

Artaserse: Jennifer Smith
Mandane: Delphine Haidan
Artapa: Carlo Vicenzo Allemano
Arbaces: Imelda Drumm
Semira: Olga Pitarch
Megabisses: Shi Chia Tu

Real Compania Opera da Camera, dir Christophe Rousset

Teatre Grec, Barcelona 06/06/1996
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Bellerofonte

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MensajeTema: Re: Niccoló Jommelli   Mar Feb 19, 2008 1:08 am

And what about Terradella's Bellerofonte, probably his best opera?

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MensajeTema: Re: Niccoló Jommelli   Mar Feb 19, 2008 9:35 am

Is Bellerofonte available? Myslivecek has an opera simply for me Terradellas not! I asked it already many times here, but may be because of my weak English knowledge nobody understood it. Hasse : I am looking for Demofoonte opera. Terradellas did not write few operas otherwise. From Jommelli art though on all of them interests what is sound material!
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MensajeTema: Re: Niccoló Jommelli   Miér Feb 20, 2008 1:39 am

If you are interested in Jommelli you will certainly enjoy the spring 1998 issue of Goldberg magazine which features articles on him. Christophe Rousset´s recording of his Armida Abbandonata is outstanding, certainly preferable to Bernius recordings of Il Vologesso and Didone Abbandonata on Orfeo (these 2 are played on modern instruments, which is a pity). Also not to be missed is Il Seminario Musicale´s recording of La Lamentazioni per il Mercoledi Santo with outstanding vocal performances from Gérard Lesne and Véronique Gens. It´s a treasure of a recording.
Jommelli and Hasse are worthy composers, I would love to hear more of them.
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MensajeTema: Re: Niccoló Jommelli   Miér Feb 20, 2008 8:15 pm

Jommelli is one of my favourite composer! Natural, that I collect everything from him. The uptakes said by you are, much somebody else Jommelli together with a work. Vologeso is masterful! The successors are, but I ask Don Falc about it!

Agonia di Cristo
Armida abbandonata
Demofoonte
Didone abbandonata
Don Trastullo
Fetonte (Bernius & live Scala recording)
Il Paratajo
Il Vologeso
L'Isola disabitata
La passione di nostro Gesú Cristo
Lamentazioni per il Mercoledi
L'Uccellatrice
Miserere
Requiem + Veni sponsa Christi
Veni Creator Spiritus

Does somebody know about his opera which can be attained yet apart from the said ones?
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Aspasia



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MensajeTema: Re: Niccoló Jommelli   Jue Abr 21, 2011 8:41 pm

Jommelli : La Betulia Liberata, Jommelli work better than Mozart's work, and I think I like better. In all respects.
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Santiago Matamoros

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MensajeTema: Re: Niccoló Jommelli   Jue Abr 21, 2011 8:46 pm

Estos húngaros son muy raros. In allo respects.

Na, látod, nem is olyan h. válasz. Neked ez jut eszedbe róla. Nekem egy régi Supraphon lemez Jozef Vlach-hal, Prágai Kamaraegyüttes(?), de nem tudom, hogy tényleg olyan jó előadás volt-e, vagy csak már túl sokszor hallottam, és azért nem értékelem az újakat, mert elfásultam.
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MensajeTema: Re: Niccoló Jommelli   Sáb Abr 23, 2011 6:05 am

Are Jommelli's last works immersed in Rococo style?
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Marcel

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MensajeTema: Re: Niccoló Jommelli   Dom Mayo 01, 2011 3:13 am



(La) Passione di Gesù Cristo
Composed by Nicolò Jommelli
Performed by Eufonia Ensemble, Sigismondo d'India Vocal Ensemble, Berlin Baroque Academy
with Anke Herrmann, Debora Beronesi, Jeffrey Francis, Maurizio Picconi
Conducted by Alessandro de Marchi

...escuchando esta obra.
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Ascanio

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MensajeTema: Re: Niccoló Jommelli   Dom Mayo 01, 2011 8:36 pm

Hace ya unos unos cuantos años que no escucho esa Passione, pero recuerdo que en su momento me había dejado bastante frio.

La verdad es que, con la excepción de Armida Abbandonata en la versión dirigida por Rousset y de algunas obras sacras, mis experiencias con la música de Jommelli (Il Vologeso, Didone Abbandonata ....) han sido escasamente gratificantes.

La última, Ezio en la versión de concierto dirigida por Alan Curtis, la padecí en directo y me resultó un soberano muermo, aunque no sabría bien a quien imputar la culpa, si a la música de Jommelli o a la dirección de Curtis, que no tuvo, ciertamente, uno de sus mejores días.

Saludos.

Ascanio.

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MensajeTema: Re: Niccoló Jommelli   Dom Mayo 01, 2011 9:15 pm

Me gustó la primera vez que la escuché pero no me ha emocionado mucho. Sólo hubo algunos momentos en los que me atrajo sobremanera. Gracias por su opinión. Saludos.
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