 | Jommelli, Niccolo - Trio Sonata in D Major for Piano No. 6 Piano solo |
Vidéo :
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| Composer : | Jommelli, Niccolo (1714 - 1774) | ||
| Instrumentation : | Piano solo | ||
| Style : | Classical | ||
| Key : | D major | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 26 Apr 2020 Niccolò Jommelli (1714 – 1774) was a Neapolitan composer. He was born in Aversa and died in Naples. Along with other composers mainly in the Holy Roman Empire and France, he was responsible for certain operatic reforms including reducing ornateness of style and the primacy of star singers somewhat. 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 friar and was of some help to him in his elder years, and three sisters. His father was a prosperous linen merchant, who entrusted him to Canon Muzzillo, the director of the Aversa cathedral choir, for musical instruction. When this proved successful, he was enrolled in 1725 at the Conservatorio di Santo Onofrio a Capuana in Naples, where he studied under Ignazio Prota alongside Tomaso Prota and Francesco Feo. Three years later he was transferred to the Conservatorio della Pietà dei Turchini, where he was trained under Niccolò Fago, with Don Giacomo Sarcuni and Andrea Basso, as second maestri (maestri di canto), or singing teachers. He was greatly influenced by Johann Adolf Hasse, who was in Naples during this period. After completing his studies he began work, and wrote two opere buffe, L'errore amoroso in early 1737 and Odoardo in late 1738. His first opera seria, Ricimero re di Goti, was such a success in Rome in 1740 that he immediately received a commission from Henry Benedict Stuart, the Cardinal-Duke of York. When still studying at the conservatory, Jommelli was impressed with Hasse's use of obbligato recitative to increase the tension at certain dramatic moments in his operas. Speaking of obbligato recitative for Ricimero, Charles de Brosses says that Jommelli's use of obbligato recitative was better than anything he had heard in France. 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, several with libretti by Metastasio. These 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, introduced ballets into his work. He used the orchestra (particularly the wind instruments) in a much more prominent way to depict what was going on in the story, including passages for orchestra alone, rather than consigning it to merely support for the singers. From Hasse, he learned to write orchestrally accompanied recitatives rather than just "secco" recitatives for voice and continuo (mainly harpsichord). His reforms are sometimes regarded as equal in importance to Christoph Willibald Gluck's. Source: Wikipedia (https://en.wikipedia.org/wiki/Niccol%C3%B2_Jommelli). Although originally written for 2 Flutes & Continuo, I created this Interpretation of the Trio Sonata (No. 6) in D Major for Piano. | |||
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