1-9 of 9 Results  for:

  • All: Opera for all x
  • Composer or Arranger x
  • Donor or Patron x
Clear all


Edmond Strainchamps

Solerti, 1904 ) recalled that Corsi’s house ‘was always open, as though a public academy, to all who took a lively interest in the liberal arts … noblemen, literati and eminent poets and musicians’, and named Tasso, Chiabrera, Marino, Monteverdi and Effrem as some of the guests there; but more important was the regular attendance of Florentines, especially Ottavio Rinuccini and Jacopo Peri, whose discussions and experiments led to what is now regarded as the birth of opera. In winter 1594–5 Corsi and Rinuccini asked Peri to complete Corsi’s musical setting, in


David Johnson

1707. From the age of 26 onwards he seems to have had no time for serious composition: his main surviving musical works were all written by about 1703. He succeeded his father as second baronet of Penicuik in 1722. In later life the erstwhile composer contented himself with patronizing others' musical efforts; an important protégé was the writer Allan Ramsay ( 1686–1757 ), whose song-lyric Wat ye wha I met yestreen and ballad opera The Gentle Shepherd celebrate the Midlothian countryside around Clerk's estate. Under Corelli's tutelage (on which he made


E. Eugene Helm

revised by Derek McCulloch

in 1767. From March 1756 to December 1764 no operas were produced at the Berlin Opera House; and from the end of the war to Frederick’s death in 1786 almost all the opera productions there were revivals of pre-war works. C.H. Graun died in 1759; his place was taken after the war by Agricola, but without the title of Kapellmeister. Agricola mounted three operas of his own, but these were mere imitations of Graun’s and were held in open contempt by Frederick. When Agricola died in 1774 the direction of the opera passed to the unwilling C.F.C. Fasch, again without


Nicholas Temperley

professional staff, from whom he expected obsequious obedience. He kept control of the RAM concerts, insisting on programmes of Italian operatic music and allowing no English compositions but his own. The Times in 1837 complained of these programmes scathingly: Above all, we would exclude all the compositions to which the name of Lord Burghersh is attached. They belong to no school, have no sort of merit, and can only serve to pervert the taste, such as it is, of the pupils …. As he is known to be absolute dictator in the affairs of the Academy, the making himself


Josef-Horst Lederer

revised by Andrew H. Weaver

wrote Italian poetry) founded literary academies on the Italian model in Vienna. Ferdinand III composed in all of the major genres of his day; his works, most of which are now lost, include motets, settings of liturgical texts (masses, hymns, Marian antiphons, Vespers psalms, litanies, and a Stabat Mater ), sonatas, Italian and German songs, and an Italian opera (a complete list of known works is in Saunders, 1996 ). Among his surviving compositions are the opera ( Drama musicum ) (in A-Wn; extracts ed. in Adler, ii), a 13-voice mass (in A-KR ), a five-voice Litaniae


April Fitzlyon

outside Russia living with, or near, the Viardots, principally in France and Baden-Baden. Always passionately fond of music, he became very well informed about it through Pauline Viardot. He was personally acquainted with almost all the well-known musicians of his day, both in Russia and in the West. He contributed occasional articles on opera to Russian periodicals, and wrote librettos in French for operettas set to music by Pauline Viardot and performed by her pupils. One of these, Le dernier sorcier , orchestrated by Eduard Lassen (and, perhaps, Liszt) was publicly


Rudolf Schnitzler and Herbert Seifert

support for opera productions, including the extravagant expenditure of about 300,000 florins for the performance of Antonio Cesti’s Il pomo d’oro (as opposed to an average of about 20,000 florins per opera production and the average yearly salary of 2000 florins for the Kapellmeister); the judicious hiring of librettists, composers and stage designers, among them the dominating collaborators Nicolò Minato, Draghi, Schmelzer and L.O. Burnacini; participation in performances by members of the imperial family; the emperor’s personal interest and support: these all resulted


Lowell Lindgren

employed, including Pasquini ( 1677 – c 1710 ), Amadei ( 1685–1708 ) and Handel ( 1707 ). His musicians played for the occasional oratorios and weekly ‘academies’ that he began to sponsor in 1677. During Pamphili's creative years all the popes except Alexander VIII (who sent him to Bologna) successfully restricted or banned public opera performances in Rome. This may well explain why Pamphili wrote mainly oratorios and cantatas. His oratorio productions in Rome were sumptuous, as witnessed by the number of instrumentalists: 32 for Scarlatti's Il trionfo della gratia


Roger J.V. Cotte

depleted estate, and has since been untraced. Several portraits of Bagge are known, one of them engraved by Nicolas Cochin (reproduced in Terry) and another portraying him with a violin ‘comme un ménétrier’. Works all printed works published in Paris Orchestral 3 sinfonie (1788) 4 vn concs., all (n.d.) vn conc., F-Pn; 2 symphonies concertantes, D-B Chamber 6 quatuors concertants, str qt, op.1 (1773) 6 trio, 2 vn, b (n.d.) Airs de Marlborough variés