Musical Concepts, Genres, and Terms

[Gioacchino ]

(b Pesaro, Nov 30, 1748; d Warsaw, March 27, 1812). Polish composer of Italian birth . He was known as an aria composer and ‘young virtuoso’ in 1777. Later he was conductor at Prince Karol Radziwiłł’s residence at Nieśwież, and from 1782 maître de chapelle at King Stanisław August Poniatowski’s court in Warsaw. In 1796 he went to Rome, and in autumn 1803 was back in Poland, where he spent the rest of his life. He is principally known for his opera Don Juan albo Ukarany libertyn (‘Don Juan, or The Rake Punished’), believed to have been performed in Warsaw with an Italian text by G. Bertati in 1780–81; in 1783 it was performed in Polish, and it was later twice revised by Albertini for performances in 1790 and 1803.

See also, Allegory (opera)

Political allegory becomes increasingly less obvious in 18th-century opera. The French repertory ossified and Quinault’s original political intent was forgotten. Opera seria relied for many decades on the morally fastidious and unflinchingly monarchist librettos of Metastasio, while Italian comic opera, though rife with topical allusions and local colour, was not a good vehicle for covert designs. Standing outside European practice is England, with its long tradition of political satire in drama and literature. John Gay’s The Beggar’s Opera (1728) was, on one level at least, a biting attack on the prime minister, Sir Robert Walpole. But with the passage of the Licensing Act in 1737, strict censorship was imposed on all stage works including Italian opera, and England came into line with most other opera-producing countries.

Where it exists at all in late 18th-century opera, allegory either takes the form of panegyric or, if political, is well hidden. Being musically and textually the most sophisticated of Classical operas, Mozart’s have been scoured for sub-texts. Metastasio’s ...

[Juan Pedro, Giovanni Pietro, Carlos Francisco]

(b Lisbon, June 24, 1744; d Madrid, c 1817). Portuguese tenor and composer active in Spain. He sang in Lisbon, Braga, Santiago de Compostela and Mondeñedo (after October 1772) and as maestro de capilla in Lugo (after July 1775) and Astorga (after March 1783). He then went to Madrid as maestro de música at the Real Capilla.

Most of his compositions are liturgical, but some secular works have survived, including two arias for soprano and orchestra, ‘Mi sento il cor trafiggere’ and ‘Quegl’ occhietti si fur’, which may be fragments of an opera.

On 15 August 1774 his opera buffa Il matrimonio per concorso was first performed at Mondoñedo. The libretto was by Gaetano Martinelli, a poet at the Portuguese court and the author of several other librettos. The score is lost but programmes have survived, with text in Italian and Spanish.

(b 1780; d after 1833). Italian bass . He sang in Italy from about 1807, then appeared at the Théâtre Italien, Paris (1815). Engaged at the King’s Theatre, London, he made his début as Count Almaviva, then sang Don Giovanni (1817), Dr Bartolo in Il barbiere di Siviglia...

The Schouwburg on the Keizersgracht (see fig.1), inaugurated in 1638, soon became the cultural centre of Amsterdam, giving ballets, plays with music and French opera. The whole audience paid for their seats; enormous surplus profits were given to charities. In 1680 an opera house was opened on the Leidsegracht: it had an initial success, but failed financially and closed in 1682. In the 18th century the popularity of opera grew rapidly and some theatres thrived outside the city boundaries. Dutch, Italian and German operas predominated. The Flemish troupe of Jacques Toussaint Neyts performed French and other operas in Dutch. In 1772 the Schouwburg burnt down; the company moved first to nearby Haarlem, then to the Overtoomseweg just outside Amsterdam, and finally to the new Schouwburg (later the Stadsschouwburg on the Leidseplein, which opened in 1774); its principal conductor was Bartholomeus Ruloffs.

After 1770, various societies were founded to break the monopoly of the Schouwburg. The Collège Dramatique et Lyrique (founded ...

(bc1755; dc1829). Italian impresario and librettist. His family was from Vicenza. Though trained as a lawyer, he chose instead to become an actor like his parents, and joined first Pietro Rossi’s company in Venice and then, around 1777, the Compagnia Nazionale Toscana in Florence, directed by Giovanni Roffi. His first tragedy, Le glorie della religione di Malta, had success in many Italian theatres. He succeeded Roffi as impresario of the Teatro del Cocomero in 1785 and served until 1795, visiting Milan for a season in 1792.

Andolfati’s greatest importance lies in his cultivation of Florentine poets and composers for the Cocomero’s musical repertory. His contract there required him to translate French farces into Italian; in addition to the librettos listed below that are almost certainly his work, he probably wrote the otherwise anonymous librettos for most of the farse and some of the intermezzos given at the theatre during his tenure....

(b Reggio Emilia, c1765; fl 1786–1826). Italian bass. Between 1786 and 1794 he sang in some of the leading theatres in Italy, including those at Bologna, Florence, Venice, Turin and Milan. In 1794 he went to Vienna, singing in operas by Cimarosa and Paisiello at the Hoftheater until 1800. In the first decade of the 19th century he returned to La Scala, also singing in Verona and Vicenza. He made his début at the King’s Theatre in London in 1816–17 and during the following seasons appeared with Pasta, Fodor-Mainvielle, Naldi and Ambrogietti. His diverse repertory included Mozart’s Figaro and Sarastro and Rossini’s Bartolo. In 1825–6 Angrisani made a tour of North America and appeared in the first New York performances of Don Giovanni, Tancredi, La Cenerentola and Il turco in Italia. Nothing is known of his last years.

(b Rome, ?Feb 20, 1744; d Florence, July 5, 1826). Italian tenor. He began in opera seria in 1768 at Bologna and Venice, then appeared at Udine in 1770. He sang in Copenhagen (Sarti’s Demofoonte, 1771) and Germany, resuming his Italian career in August 1773, when he was engaged at leading houses to Carnival 1795. He appeared in Mysliveček’s Calliroe at Pisa in 1779, and in Anfossi’s Tito nelle Gallie and Cimarosa’s Cajo Mario in Rome in 1780; in that year he was also at the King’s Theatre, London. In 1778 he married the prima donna Giuseppina Maccherini (or Maccarini; fl 1765–91). Burney described his voice as ‘sweet, powerful, even, and of great compass and volubility’; others speak of a timbro stupendo, especially in the middle and lower registers, which, joined to his forceful acting, frequently created a furore, making him a prime agent in the shifting of focus in ...

[Maria Antonia Josefa Johanna ]

(b Vienna, Nov 2, 1755; d Paris, Oct 16, 1793). Queen of France and patron of opera . The daughter of Emperor Franz I of Austria, she received her early tuition from Gluck (clavecin and singing) and Noverre (dance and deportment). As dauphine (1770) and later queen of France (1774), she supported a great many artists working within the field of opera. The success of Gluck’s Iphigénie en Aulide at the Opéra in 1774 was due largely to the presence of the entire court at the première and to the dauphine’s enthusiastic applause for individual numbers. Accused of favouring Austrian interests too overtly, she was obliged to welcome Piccinni to Paris, and later favoured Sacchini until further criticism forced her to support native composers: for celebrations at Fontainebleau in 1786 Lemoyne’s Phèdre was staged in preference to Sacchini’s Oedipe à Colone. Works by Grétry (...

(fl 1760–1806). Czech composer. He was a teacher in Nemyčeves near Jičín (1760–92), then in Kopidlno. Most of his work output consists of church music, but he also wrote the Opera de rebellione boëmica rusticorum, which deals with the great peasant rebellion in East Bohemia of 1775. The work seems to have gained popularity in its time: it appears in several musical collections, and also as a spoken drama. The opera is composed in a late Baroque idiom, with Rococo features; to highlight the contrast between the lives of peasants and the nobility, it uses elements of folk and art music.

There is scant evidence of musical life in Argentina during this period. As in most Latin American countries, the earliest efforts to establish a regular musical life in the European sense were made by missionaries, especially the Jesuits whose missions covered the Paraná river area and the La Plata region (Paraguay and Argentina). Music was important in the catechization of the indigenous Amerindian population, but the absence of conventual historians and the disappearance of the music archives of the Jesuits (see Lange) restrict any assessment of music-making during the 16th and 17th centuries. The first missionaries were Father Alonso Barzana, a Jesuit, and Francisco Solano, a Franciscan who was eventually canonized.

The first reference to an organ in the church of Santiago del Estero dates from 1585; the first school of music was founded by Father Pedro Comental (1595–1665). The music taught was mainly plainchant and polyphonic song, and Amerindians and African slaves soon became skilful musicians and instrument makers: there is documentary evidence of locally made European instruments before ...

Distinctions within traditional Argentine music are based on both musical and non-musical historical criteria and arise according to whether the music is that of a pre-Hispanic indigenous group (for further discussion of the music of Amerindians in Argentina see Latin America, §I) or is Creole, that is of Spanish language and musical heritage, occasionally with some indigenous features. The main differences lie in the presence or absence of European influences in the music and texts of songs and the degree to which societies and groups themselves share the cultural institutions of the majority. The imposition on the indigenous population of the Spanish language and of Roman Catholicism and its religious calendar prepared the ground for the development of a rural Creole culture, creating the environment for Creole music traditions, which later absorbed other incoming population influences. At the same time, in terms of language and religious belief, some pre-Hispanic indigenous cultures survived into the 20th century. In the 20th century the musical map was inevitably altered, and significant changes occurred due to the migration of population from rural to urban areas, the partial adoption of Protestantism by some indigenous groups and the increased popularity of Creole music. The Amerindian–Creole dimensions of traditional music, instrumentaria and dance vary according to region....

[‘Il Comaschino’]

(b Como, c 1750–55; d after 1798). Italian castrato singer. Most of his career was spent in Russia. He sang the female leads in three successive seasons at the Teatro Argentina, Rome (1772–4), starting with Anfossi’s Alessandro nell’Indie, then appeared in Venice and Vienna, and reached St Petersburg in 1778. From 1780 to 1789 he was a leading singer at the court theatre, where he sang Orpheus in the Russian première of Gluck’s Orfeo ed Euridice (1782); he created Peter in Paisiello’s oratorio La passione di Gesù Cristo (1783). He retired in 1789 but stayed on until 1794 in Moscow; in 1795 he was at the court of the king of Poland. While based in Russia he made several trips abroad to recruit singers and buy materials for the imperial theatres. Mooser deduces (perhaps wrongly) that he pimped for the foreign minister, Alexander Bezborodko. On his return to Italy he bought lands formerly belonging to the noble Visconti family. No description of his singing appears to be known....

Member of Aubert family

(b Paris, Dec 15, 1732; d c1810). French writer, dramatist and abbé, son of Jacques Aubert. He may have composed some of the music to his own plays (Jephté ou le voeu, 1765; and La mort d’Abel, 1765), but he is remembered more for his essays on music, the most famous being his reply to J.-J. Rousseau’s controversial ...

(b Bologna, Feb 19, 1754; d Bologna, Sept 22, 1816). Italian tenor . He studied with Arcangelo Cortoni and made his début in 1773 in Modena. After singing in various Italian cities, he was engaged at the court operas of Berlin and then St Petersburg (1777–81), where he was much admired in works by Paisiello. He appeared in Lisbon, Madrid, Vienna, at the King’s Theatre, London (...

Member of Bach family

(46) (b Weimar, March 8, 1714; d Hamburg, Dec 14, 1788). Composer and church musician, the second surviving son of (7) Johann Sebastian Bach (24) and his first wife, Maria Barbara. He was the most important composer in Protestant Germany during the second half of the 18th century, and enjoyed unqualified admiration and recognition particularly as a teacher and keyboard composer.

He was baptized on 10 March 1714, with Telemann as one of his godfathers. In 1717 he moved with the family to Cöthen, where his father had been appointed Kapellmeister. His mother died in 1720, and in spring 1723 the family moved to Leipzig, where Emanuel began attending the Thomasschule as a day-boy on 14 June 1723. J.S. Bach said later that one of his reasons for accepting the post of Kantor at the Thomasschule was that his sons’ intellectual development suggested that they would benefit from a university education. Emanuel Bach received his musical training from his father, who gave him keyboard and organ lessons. There may once have been some kind of ...

(b Lyck, East Prussia, June 8, 1756; d Königsberg, March 27, 1823). German librettist. At 21, after studying law at Königsberg, he went blind. Thereafter he taught history at an artillery academy and wrote novels, several works on Prussian history and musical texts for local use. Three of his librettos were published in ...

(b London, ?1745; d Edinburgh, July 1, 1786). English actress and soprano . Daughter of the trumpeter Valentine Snow, she eloped with the actor Robert Baddeley and in 1764 made her début as Ophelia at Drury Lane. Although the prompter Hopkins found her Ophelia ‘very bad, all but the singing’, she made a charming heroine in genteel and Shakespearean comedy. In English operas she was particularly successful as Patty (The Maid of the Mill) and Rosetta (Love in a Village). She created roles in Dibdin’s Ephesian Matron and Recruiting Sergeant and her performance of his song in praise of Shakespeare, ‘Sweet Willy O’, was the hit of the Garrick Jubilee. Her beauty gained her many admirers, but her scandalous private life, extravagance and indulgence in laudanum eventually destroyed her. After 1780 she appeared only in Dublin, the provinces and finally Edinburgh, where she died in poverty....

Italian family of singers.

Baglioni, Francesco [Carnace] (fl 1729–62)

Baglioni, Giovanna (fl 1752–1770s)

Baglioni [Poggi], Clementina (fl 1753–88)

Member of Baglioni family (opera)

(fl 1753–88). Italian soprano, daughter of Francesco Baglioni. In 1753–9 she toured northern Italy with her father and one or two sisters, appearing in five comic operas at Venice in 1754–5. She also performed there in 1760–65 and 1775–8. Although best known for comic roles, she also sang in opera seria, appearing at Turin in 1759–60 (Galuppi’s La clemenza di Tito, Traetta’s Enea nel Lazio) and at Parma in 1761 and 1763 (J. C. Bach’s Catone in Utica). In 1762 she was in Milan and Vienna (Hasse’s Il trionfo di Clelia) and in 1767 in Naples, by which time she had married Domenico Poggi. She returned to Vienna where, in 1768, Mozart wrote for her the elaborate part of Rosina in La finta semplice, which however she never performed. She sang in Vienna in 1772–4 with her sisters Costanza and Rosina, and may have done so in Paris in ...