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Lisa Szeker-Madden


(b Rome, 1740; d Rome, Jan 1809). Italian composer.

Mango’s father, Antonio, was a Neapolitan impresario who worked in Rome at the Capranica theatre between 1729 and 1740, after which time he returned to Naples with his family. The earliest references to Girolamo Mango himself do not occur until the Roman carnival season of 1758 with the premiere of his intermezzo, La pedina alla moda, at the Pallacorda di Firenze theatre. Mango was very active in Rome, composing music for intermezzos, pasticcios, and oratorios at a number of theatres and churches.

On 26 March 1760 he accepted a post at Eichstätt as Hofkapellmeister for Prince Bishop Raimondo Anton von Strassoldo. The Prince Bishop was the first Italian to serve at Eichstätt, and he brought true Italian culture to Bavaria. Besides his Kapellmeister, he imported a number of professional Italian singers and musicians. Under Strassoldo, Mango transformed musical life at Eichstätt, moving it from a late baroque style into the early classical. He increased the size of the orchestra to include timpani as well as more woodwinds and brass. His symphonies reflect the early classical predilection for the three-movement Neapolitan opera overture form, and his instrumental writing displays a refined use of wind instruments. Concerti also feature transverse flutes and oboes as solo instruments, in keeping with contemporary musical trends and the preferences of his patron. Likewise, musical theatre at Eichstätt was considerably improved under Mango’s direction. The amateur Jesuit dramas presented at court prior to Mango’s tenure gave way to Metastasian opera seria and opera buffa. Mango was in fact required to present a new opera seria every year as part of the New Year’s celebrations at court for Strassoldo and his invited guests. Extant comic arias reveal that Mango’s buffa style favours cheerful, lightly ornamented melodies with simple harmonies and homophonic accompaniment. The high esteem and favour that Mango enjoyed at the Eichstätt court peaked with his receipt of the honorific ‘...


Walter Senn

revised by T. Herman Keahey

[Malzahn, Malzard, Maltzath, Maltzbach]

Austrian family of musicians of Moravian origin .

( b Pirnitz [now Brtnice], 1723; d Vienna, Nov 25, 1760). Composer and violinist . He is believed to have gone to Vienna in 1745, possibly in the service of Count Haugwitz; in 1747 he was musicus primarius at the Dominikanerkirche and in 1757 musicus at the Stephansdom. He was probably the Malzat listed as a violinist in the Burgtheater orchestra. Works attributed to him include a partita ( D-KA , ed. J. Trojan, Prague, c 1981), a sinfonia ( A-Gd ) and a quartet, a flute concerto and three symphonies listed in the Breitkopf catalogues.

( b Vienna, April 21, 1749; d Innsbruck, May 13, 1787). Composer and choirmaster , son of (1) Josef Malzat. He attended the grammar school in Kremsmünster, where he was a chorister and possibly also a cellist (see Weiss). He was subsequently a teacher in the abbeys of Stams in the Tyrol (...


Sven Hansell

revised by T. Herman Keahey

(Maria Baldassare)

(b nr Mantua, June 11, 1740; d Salzburg, March 1, 1817). Italian composer. He probably received his earliest musical training in Mantua, where his first opera, Alessandro nell’Indie was well received in 1768 and where he became a tenor at the church of S Barbara. The maestro di cappella, G.B. Pattoni, described him as a ‘reliable tenor … as well as a good organist and composer’ (29 January 1768). In 1770 he met the Mozarts, then on their first Italian journey, and copied one of Wolfgang’s masses (probably k66). In 1773 he competed unsuccessfully to become Pattoni’s successor and on 16 July 1779 was appointed vice-maestro of S Barbara. For the inauguration of the Teatro Scientifico, the private theatre of the Reale Accademia of Mantua, he wrote the cantata Virgilio e Manto (1769). He served the academy as secondo maestro until 1783...