 |
Vidéo :
![]()
| Composer : | Sacchini, Antonio (1730 - 1786) | ||
| Instrumentation : | flute, oboe and strings | ||
| Style : | Baroque | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 10 Oct 2019 Antonio Maria Gasparo Gioacchino Sacchini (1730 – 1786) was an Italian composer, best known for his operas. He was born in Florence, but raised in Naples, where he received his musical education. He made a name for himself as a composer of serious and comic opera in Italy before moving to London, where he produced works for the King's Theatre. He spent his final years in Paris, becoming embroiled in the musical dispute between the followers of the composers Gluck and Niccolò Piccinni. His early death in 1786 was blamed on his disappointment over the apparent failure of his opera Œdipe à Colone. However, when the work was revived the following year, it quickly became one of the most popular in the 18th-century French repertoire. "The real significance of Sacchini's work is difficult to determine aesthetically, although the obvious historical importance of the composer and his activity undoubtedly demands more careful study and more thorough investigation", with these words the editor of Sacchini's article in the Grande Enciclopedia della Musica Lirica begins the section evaluating his music. Any such assessment is made more difficult by the comparative lack of interest the modern operatic world has shown in Sacchini's works, although this has begun to change in the early 21st century: there are now two complete recordings of Œdipe à Colone and one of Renaud. In his own time, Sacchini was described as the champion of melody. Indeed, the composer Giuseppe Carpani, about twenty years his junior, said that Sacchini might even be considered the finest melodist in the world. This melodic gift, along with the general facility Sacchini found in composing music, was undoubtedly the result of his upbringing amid the flourishing Neapolitan school of opera. From the beginning, however, Sacchini revealed a tendency to distance himself from the more hackneyed features of the Italian operatic tradition. "Only rarely did he adhere to the complete da capo form, but he often made use of altered versions of this basic plan. He also made frequent use of a cavatina-like two-part aria that approximates to the A portion of the da capo form, and of the vocal rondò, in both comic and serious works." However, it was only when he became part of "an international musical milieu and with the acquisition of a much broader and more diverse experience that Sacchini's finest qualities achieved complete maturity." This is true above all of the period in Paris, when he "strengthened his own style with an obviously Gluckian influence, which was not, however, strong enough to cancel out his melodic and sensuous gifts", which derived from the Italian tradition, "while his orchestral palette was also enriched by new and vivid colours, which frequently anticipated many aspects of the future Romantic movement." The most characteristic work in this respect is undoubtedly Œdipe à Colone, but the description also applies to Dardanus: "these are operas in which every element lacking a dramatic function has been removed. Accompanied recitatives, ariosos and arias blend naturally into one another... giving life to scenes whose unity is guaranteed by the use of the same thematic material...the combination of cavatina and cabaletta is particularly successful, and it was destined to become a common feature of opera in the following century... finally the choral scenes, alternating chorus and soloists, are highly effective, on the one hand revealing the influence of Gluck, and on the other showing the way forward to the grand opera of Spontini." Writing in Grove, David DiChiera concludes, "With his masterpiece, Œdipe, Sacchini admirably achieved a synthesis of Italian melodic style and Gluckian principles within a French dramatic framework". Source: WikiPedia (https://en.wikipedia.org/wiki/Antonio_Sacchini). Although originally composed for Solo Voice (Alto) and Continuo, I created this interpretation of the "Ave Regina Coelorum" (Hail, Queen of Heaven) for Flute, Oboe & Strings (2 Violins, Viola & Cello). | |||
 |
 |
 |
 |
© 2000 - 2024
Home - New realises - Composers
Legal notice - Full version