Jommelli, Niccolo - Missa Defunctorum (Requiem) for Winds & Strings Vents & Orchestre Cordes |
Compositeur : | Jommelli, Niccolo (1714 - 1774) | ||
Instrumentation : | Vents & Orchestre Cordes | ||
Genre : | Baroque | ||
Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
Droit d'auteur : | Public Domain | ||
Ajoutée par magataganm, 11 Déc 2022 Niccolò Jommelli (1714 – 1774) was an Italian composer of the Neapolitan School. 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. He was born to Francesco Antonio Jommelli and Margarita Cristiano in Aversa, a town some 24 kilometres (15 mi) 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 for musical instruction to Canon Muzzillo, the director of the choir of Aversa Cathedral. 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 composed for Chorus (SATB) & Organ, I created this arrangement of the Missa Defunctorum (Requiem) for Winds (Flute, Oboe, English Horn, French Horn & Bassoon) & Strings (2 Violins, Viola & Cello). |